LIBRARY 

Universi-y   oi 

California 

Irvine 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

IRVINE 


GIFT  OF 
William  C.   Tesche 


How  to   Visit  the 
Great  Picture  Galleries 


BOOKS  BY  MISS  SINGLETON 


TURRETS,  TOWERS,  AND  TEMPLES.  Great  Buildings  of  the 

World  Described  by  Great  Writers. 
GREAT  PICTURES.     Described  by  Great  Writers. 
WONDERS  OF  NATURE.    Described  by  Great  Writers. 
ROMANTIC  CASTLES  AND  PALACES.     Described  by  Great 

Writers. 

FAMOUS  PAINTINGS.     Described  by  Great  Writers. 
HISTORIC  BUILDINGS.     Described  by  Great  Writers. 
FAMOUS  WOMEN.     Described  by  Great  Writers. 
GREAT  PORTRAITS.     Described  by  Great  Writers. 
HISTORIC  BUILDINGS  OF  AMERICA.     Described  by  Great 

Writers. 
HISTORIC  LANDMARKS  OF  AMERICA.    Described  by  Great 

Writers. 
GREAT    RIVERS    OF    THE    WORLD.      Described    by    Great 

Writers. 

FAMOUS  CATHEDRALS.    Described  by  Great  Writers. 
FAMOUS  SCULPTURE.     Described  by  Great  Writers. 
HOLLAND.     Described  by  Great  Writers. 
PARIS.     Described  by  Great  Writers. 
LONDON.     Described  by  Great  Writers. 
RUSSIA.     Described  by  Great  Writers. 
JAPAN.     Described  by  Great  Writers. 
VENICE.     Described  by  Great  Writers. 
ROME.     Described   by   Great  Writers. 
GERMANY.     Described  by  Great  Writers. 
SWITZERLAND.     Described  by  Great  Writers. 
TURKEY  AND  THE  BALKAN  STATES.    Described  by  Great 

Writers. 
FLORENCE. 

LOVE  IN  LITERATURE  AND  ART. 
THE  GOLDEN  ROD  FAIRY  BOOK. 
THE  WILD  FLOWER  FAIRY  BOOK. 

DUTCH  NEW  YORK.    Manners  and  Customs  of  New  Am- 
sterdam in  the  Seventeenth  Century. 
A  GUIDE  TO  THE  OPERA. 
A  GUIDE  TO  MODERN  OPERA. 
How  TO  VISIT  THE  GREAT  PICTURE  GALLERIES. 


LA  BELLE  JARDINIERE— Kaphael 

LOUVRE 


How  to  Visit  the 
Great  Picture  Galleries 


By 
Esther  Singleton 


With  Numerous  Illustrations 


New  York 
Dodd,  Mead  and  Company 


1910 


As/ 


COPYRIGHT,  1910,  BY 

DODD,  MEAD  AND   COMPANY 

Published,  Mav.  1910 


PREFACE 

THIS  book  is  compiled  for  the  use  of  the  art- 
loving  tourist  who  wishes  to  see  the  most  im- 
portant pictures  in  the  great  galleries  of  Europe. 
The  tourist  is  always  in  a  hurry:  he  wants  to 
reap  the  greatest  possible  pleasure  and  profit 
with  the  least  expenditure  of  time.  Generally 
speaking,  he  allows  two  days  on  the  average  for 
seeing  a  city ;  and  of  this  time  he  cannot  spend 
much  in  the  Art  Museums.  Baedeker,  for  in- 
stance, allots  less  than  one  morning  each  to  the 
famous  galleries  of  Antwerp,  Brussels,  The 
Hague  and  Amsterdam.  Therefore,  in  rushing 
through  a  collection  of  from  six  hundred  to  two 
thousand  works  of  the  Old  Masters,  the  tourist 
wants  to  devote  his  attention  to  the  most  fa- 
mous only.  He  knows  that  every  great  collec- 
tion contains  a  number  of  mediocre  works  that 
are  interesting  only  to  students  and  historians 
of  art,  and  that  many  pictures  are  falsely  attrib- 
uted to  and  are  not  worthy  of  the  great  masters 
whose  names  they  bear.  The  visitor,  therefore, 
wants  to  see,  first  of  all,  the  recognised  gems  of 
the  gallery,  the  masterpieces  whose  fame  has 
reached  him,  and  the  great  pictures  with  which 
he  has  become  familiar  through  photographic 
and  other  reproductions. 

To  get  the  best  and  most  lasting  impressions 
from  a  brief  visit  to  a  great  gallery,  the  traveller 
should  be  in  a  measure  prepared  for  what  he  is 


vi  PREFACE  . 

going  to  see.  He  cannot  stand  the  shock  of  sur- 
prises. It  is  bewildering  enough  to  see  so  many 
great  and  famous  works  one  after  another  with- 
out a  pause.  The  effect  that  absorbing  such  a 
feast  of  paintings  has  upon  a  cultivated  and  in- 
tellectual mind  is  graphically  expressed  by  Haw- 
thorne after  a  visit  to  the  Uffizi.  He  says: 

"  We  looked  pretty  thoroughly  through  the 
gallery,  and  I  saw  many  pictures  that  impressed 
me;  but  among  such  a  multitude,  with  only  one 
poor  mind  to  take  note  of  them,  the  stamp  of 
each  new  impression  helps  to  obliterate  a  former 
one." 

In  going  through  a  gallery,  it  is  well  to  enjoy 
the  little  as  well  as  the  great,  not  only  for  the 
sake  of  contrast  and  rest  to  the  eye  and  the 
mind,  but  because  the  art  itself  is  often  of  the 
first  order.  On  this  same  visit  to  the  Uffizi, 
Hawthorne  also  says : 

"  Until  we  learn  to  appreciate  the  cherubs  and 
angels  that  Raphael  scatters  through  the  blessed 
air,  it  is  not  amiss  to  look  at  a  Dutch  fly  settling 
on  a  peach,  or  a  humblebee  burying  himself  in 
a  flower." 

If  the  tourist  knows  beforehand  what  are  the 
gems  of  the  gallery  he  can  go  directly  to  those 
he  specially  wants  to  see,  without  losing  any  of 
the  precious  moments  that,  like  the  Sibylline 
Books,  became  more  precious  as  they  lessened 
in  number. 

In  the  following  pages  I  have  endeavoured  to 
enable  the  tourist  to  satisfy  these  wants  with  the 
least  trouble  to  himself.  Out  of  the  great  mass 
of  works  I  have  selected  what  are  recognised  by 
all  critics  as  the  gems;  and  from  the  works  of 


PREFACE  vii 

art-historians  and  critics  of  authority  I  have  se- 
lected passages  descriptive  of  the  pictures  or 
that  give  an  insight  into  the  special  points,  fea- 
tures or  meaning  of  the  works.  The  visitor  is 
often  curious  to  know  what  it  is  that  makes  one 
picture  more  famous  than  others  that  his  own 
taste  approves,  and  is  glad  in  consequence  to 
have  a  critic  point  out  the  special  qualities  of 
tone,  line,  expression,  or  composition  that  ren- 
der it  preeminent.  It  is  interesting  to  know  who 
the  saints  are  that  are  represented  in  a  "  Holy 
Conversation "  and  why  certain  saints  accom- 
pany the  donors  of  a  work.  Such  works  as  Bot- 
ticelli's Spring,  Cranach's  Fountain  of  Youth, 
and  Raphael's  Virgin  of  the  Fish  become  more 
attractive  when  their  subjects  are  elucidated,  and 
such  masters  as  Crivelli,  Carpaccio,  Bellini,  Viva- 
rini,  etc.,  are  better  appreciated  when  their  qual- 
ities are  emphasised  by  appreciative  critics. 

Some  portraits  owe  their  chief  interest  to  the 
celebrity  of  the  individual  represented;  some  to 
the  beauty  of  the  artist's  work ;  and  some  to  the 
mystery  that  surrounds  the  "  unknown  "  subject. 
Other  pictures  have  romantic  histories,  or  have 
been  special  favourites  with  rulers  and  princes ; 
and  still  others  have  obscure  subjects  that  need 
explanation  by  the  informed. 

Believing  that  the  average  tourist  is  desirous 
to  know  the  opinion  of  the  most  authoritative 
experts  and  those  discriminating  judges  who 
have  studied  the  works  and  expounded  their  his- 
tory, meaning  and  beauties,  I  have  drawn  freely 
upon  the  English,  French  and  German  art-critics 
and  hope  that  with  their  aid  this  little  hand- 
book will  be  a  practical  guide  to  the  traveller 


Vlll 


PREFACE 


while   abroad   and   a   useful    book   of   reference 
when  he  returns. 

I  wish  to  thank  Mr.  Arthur  Shadwell  Martin 
for  valuable  assistance  in  the  work. 

E.  S. 
NEW  YORK,  April,  igio. 


ABBREVIATIONS  OF  AUTHORITIES 
QUOTED 


W.  A.— Sir  Walter  Arm- 
strong 

J.  B.  A.— John  Beavington 
Atkinson 

B.— Dr.  Bode 

B-L—  Sir  Edward   Bulwer- 

Lytton 

A.    B.— Dr.   A.    Bredius 
C.    B— Charles    Blanc 
H.  B— Henri  Beyle 
J.   B.— J.   Burckhardt 
S.   B. — Selwyn  Brinton 
W.   B.— William  Burger 
Wm.    B.— William    Blake 
W.  B.  B— William  B.  Boul- 

ton 

C.— Crowe 

C.  and  C.— Crowe  and  Cav- 

alcaselle 
Ch. — Chesneau 
A.  F.  C— A.  F.  Calvert 
C.  B.  C— Charles  B.  Curtis 
E.  T.  C— Edward  T.  Cook 
H.   de  C. — Henri  de  Chen- 

nevieres 

J.  C. — Julia  Cartwright 
M.   C— Maude   Cruttwell 

D. — A.   Demmin 

A.    D. — Austin    Dobson. 

G.  S.  D.— Gerald  S.  Davies 


C  L.  E.— Charles  L.  East- 
lake 
O.  E. — Dr.   O.   Eisenmann 

F— E.  Fetis 

F.-G. — Fierens-Gevaert 

A.  de  F. — Abbe  de  Fontenai 

E.    F. — Eugene    Fromentin 

R.  F.— Richard  Ford 

R.  E.  F— Roger  E.  Fry 

A.  G. — A.  Gorling 
A.  Gn. — Aime  Giron 

E.  and  J.  de  G.— E.  and  J. 
de  Goncourt 

F.  A.  G.— F.  A.  Gruyer 

G.  G. — Gustav  Gruyer 
H.  G. — H.  Guiness 

J.  G. — Jules  Guiffrey 

T.     G.— Theophile     Gautier 

H— Hiibner 

E.    H.— Edward  Hutton 
H.  H— H.  Hymans 
J.  B.   S.  H— J.  B.  S.  Hoi- 
born 
J.    G.    H. — James    Gibbons 

Huneker 

M.  H. — Maurice  Hamel 
M.  Hew. — Maurice  Hewlett 
M.  M.  H— M.  M.  Heaton 
S.    and    J.    H— S.    and    J. 
Horner 


ABBREVIATIONS  OF  AUTHORITIES 


A.   J. — Anna  Jameson 
C.  J. — Carl  Justi 
H.  J. — Henry  Jouin 

K— Kiigler 

H.  K— H.  Knackfuss 

K.    K— Karl   Karoly 

L. — Lord  Lindsay 
A.  H.  L— A.  H.  Layard 
C.  R.  L.— C.  R.  Leslie 
E.  L. — E.  Leclercq 
G.  L. — G.  Larroumet 
G.  Laf. — G.  Lafenestre 
P.  L.— Paul  Lafond 
P.  Lef.— Paul  Lefort 
M. — Eugene  Miintz 

Mar. — Marietta 
A.  M.  Andre  Michel 
A.  de  M. — A.   de  Montaig- 
lon 

A.  Mic. — A.   Michiels 

B.  M.— B.   Meyer 

C.  M. — Cosmo    Monkhouse 
E.  M. — Emile  Michel 

E.  W.  M— E.  W.  Moes 

F.  M.-B.— Felix     Mendels- 
sohn-Bartholdy 

G.  M. — G.  Morelli 

J.   M. — Julius   Meyer 

P.   M.— Paul   Mantz 

R.  M.— Richard  Muther 

M.  0— M.  Oliphant 

P. — Passavant 

B.  P.— Betty  Paoli' 

C.  P.— Claude  Phillips 
M.  P. — Maurice  Pernot 
W.  P.— Walter  Pater 

R. — John  Ruskin 

Von  R. — C.  F.  von  Rumohr 

A.  R. — A.  Rosenburg 

C.    de    R.— Clement    de   Ris 


M.  R. — Max  Rooses 
M.  Rey. — Marcel  Reymond 
McN.     R— -McNeil     Rush- 
forth 

J.  R. — Sir  Joshua  Reynolds 
S.  R— S.  Rocheblave 

A.  S. — A.   Streeter 

C.  A.   S.-B— C.  A.   Sainte- 
Beuve 

F.   G.    S. — Frederic  G.  Ste- 
phens 

H.  S. — H.  Swinburne 
J.    A.    S. — John    Addington 

Symonds 

J.  S. — John  Smith 
M.  H.  S.— M.  H.  Spielmann 
R.    A.    M.    S— R.    A.    M. 
Stevenson 

H.  von  T. — H.  von  Tschudi 
H.  A.  T.— H.  A.  Taine 
M.  T. — Moriz  Thausing 

V.— Vasari 

Vos. — Vosmaer 

A.V. — Anthony  Vallebregue 

L.   V. — Louis  Viardot 

W. — Dr.   Waagen 

A.    W.— Alfred   Woltmann 

A.  J.  W— A.  J.  Wauters 

D.  W.— David  Wilkie 

F.  W. — Frederick  Wedmore 

F.  C.  W.— Francis  C.  Weale 

G.  C.   W— G.   C.   William- 
son 

H.  W:— Horace  Walpole 

J.  F.  W— J.  F.  White 

W.    H.    J.    W— W.    H.    J. 

Weale 

K.  W— Karl  Woermann 
Van    de    W. — M.    Van    de 

Wiele 
C.  Y.— Charles  Yriarte 


CONTENTS 

PAGE 

THE  NATIONAL  GALLERY — LONDON     ...  i 

THE  LOUVRE — PARIS 45 

PALAIS  DES  BEAUX-ARTS — BRUSSELS     ...  95 

MUSEE   ROYAL  DES   BEAUX-ARTS — ANTWERP  109 

THE    HAGUE   GALLERY — THE   HAGUE     .      .  124 

THE  RIJKS  MUSEUM — AMSTERDAM     .      .      .  140 

THE  NATIONAL  MUSEUM — STOCKHOLM   .      .  172 

THE  HERMITAGE — ST.  PETERSBURG     .      .      .  183 

THE  BERLIN  GALLERY — BERLIN     ....  207 

ROYAL     PICTURE     GALLERY — DRESDEN     .      .  235 

THE  PICTURE  GALLERY — CASSEL     ....  275 

OLD   PlNKAKOTHEK — MUNICH      ....  285 

THE   IMPERIAL   PICTURE   GALLERY — VIENNA  310 

THE  VENICE  ACADEMY — VENICE     ....  339 

THE  BRERA — MILAN 355 

THE  ACADEMY — FLORENCE 362 

THE  PITTI   PALACE — FLORENCE     ....  372 

THE  UFFIZI — FLORENCE 392 

THE  VATICAN — ROME     ...'....  418 

NATIONAL  MUSEUM — NAPLES 430 

THE  PRADO  MUSEUM — MADRID     ....  436 

INDEX 467 


La  Belle  Jardiniere.     Raphael    .      .     Frontispiece 

FACING   PAGE 

Madonna  of  the  Rocks.    Leonardo  da  Vinci  .  2 

The  Nativity.     Botticelli 3 

The  Annunciation.     Fra  Filippo  Lippi   .      .  6 

Raphael  and  Tobias.     Perugino    ....  7 

The  Annunciation.     Crivelli 14 

Vision  of  St.  Helena.    Veronese     ....  15 

The  Tailor.     Moroni 20 

Doge  Loredano.     Bellini 21 

The   Ambassadors.     Holbein 32 

Angels'  Heads.     Sir  Joshua  Reynolds     .     -.  •  33 

Mrs.  Siddons.     Gainsborough 40 

Portrait  of  Himself.     Hogarth      ....  41 

St.  George  and  the  Dragon.    Raphael  ...  48 

Charles  the  First.    Van  Dyck    .      .      ..;•',..  49 

Adoration  of  the   Shepherds.     Ribera     .      .  56 

Parnassus.    Mantegna 57 

Marriage  at  Cana.    Veronese 64 

The  Holy  Family.     Murillo  ' 65 

Anne  of  Cleves.     Holbein 

Cardinal  Richelieu.     P.   de   Champaigne 

Gilles.    Watteau •.     .      .•  •.; 

La  Cruche  Cassee.     Greuze 

Portrait  of  Himself.    Fragonard  .... 
Fecundity.     Jordaens      ....... 


viii  ILLUSTRATIONS 

St.  Barbara.    J«  van  Eyck 114 

Christ  as  King  of  Heaven.     Memling     .      .  115 

Coup  de  Lance.     Rubens 118 

The  Seven  Sacraments.     R.  van  der  Weyden  119 

Helena  Fourment.     Rubens 124 

The  Fiddler.    A.  Van  Ostade         ....  125 

View  of  Haarlem.     Ruysdael 138 

The  Syndics.     Rembrandt 139 

The  Floating  Feather.     M.  d'Hondecoeter     .  148 

The   Spinner.      Maes 149 

The  Country  House.     P.  de  Hooch  .      .      .  156 

The  Water  Mill.     Hobbema 157 

Dordrecht.     J.  van  Goyen 166 

The   Parrot  Cage.     Jan   Steen      .      .      .      .  167 

Birth  of  Venus.     Boucher 172 

Salon  of  Rubens.    C.  de  Vos 173 

Virgin  and  Child  with  Saints.     Francia  .      .  182 

Madonna  del  Latte.     Correggio     .      .      .      .  183 

Girl  with  the  Broom.     Rembrandt     .      .      .  192 

Virgin  with  the  Partridges.    Van  Dyck     .      .  193 

Doge  Going  to  Wed  the  Adriatic.     Canaletto  204 

Angel  Musicians.    J.  and  H.  van  Eyck     .      .  205 

George   Gisze.      Holbein 212 

Xurse  and  Laughing  Baby.     Frans  Hals     .  213 

Madonna  with  the  Finch.    Diirer  ....  232 

The  Sistine  Madonna.     Raphael     ....  233 

La   Xotte.     Correggio 240 

Madonna  della  Catina.     Giulio  Romano  .      .  242 

Christ  Crowned  with  Thorns.     Guide  Reni  .  260 

Gallant  Proposals.     Metsu 261 

Shepherd  and  his  Flock.     Paul  Potter     .      .  276 

Landscape  in  Winter.     Rembrandt     .      .      .  277 


ILLUSTRATIONS    -  ix 

Animals  at  Pasture.     Paul  Potter  ....  284 

Children  with  Garland.    Rubens     ....  285 

Defeat  of  Sennacherib.     Rubens   ....  294 

Rubens  and  Helena.    Rubens 295 

Still  Life.     Snyders  . 308 

Virgin  with  the  Cut  Pear.     Diirer     .      .      .  309 

Virgin  of  the  Cherries.     Titian     ....  320 

St.  Ildefonso.      Rubens 321 

Landscape.     Ruysdael 330 

Girl  with  Candle.     Schalcken 331 

Madonna  of  the  Two  Trees.     Bellini      .      .  340 

Presentation  of  the  Virgin.     Titian   .      .      .  341 

St.  Ursula.     Carpaccio 348 

Miracle  of  the  Holy  Cross.     Gentile  Bellini  349 

Marriage  of  the  Virgin.     Raphael     .      .      .  356 

Madonna  of  the  Rose  Hedge.     Luini     .      .  357 

Spring.     Botticelli 364 

Flight  into  Egypt.     Fra  Angelico      .      .      .  365 

Madonna  della  Sedia.     Raphael     ....  374 

The  Concert.     Giorgione 375 

The  Disputa  della  Trinita.    Andrea  del  Sarto  384 

La    Bella.     Titian 385 

Marriage  of  the  Virgin.     Fra  Angelico  .      .  392 

Salome  with  Head  of  John  the  Baptist.    Luini  393 

Madonna  of  the  Magnificat.     Botticelli   .      .  402 

Madonna  di  San  Francesco.  Andrea  del  Sarto  403 

Virgin  and  Child.     Correggio 412 

The  Transfiguration.     Raphael      ....  413 

Last  Communion  of  St.  Jerome.  Domenichino  424 

The    Magdalen.      Guercino 425 

Las  Meninas.    Velasquez 436 

Las  Hilanderas.     Velasquez     .      .      .     ..     .  437 


x  ILLUSTRATIONS 

j 

The  Little  Bird.     Murillo 444 

The  Immaculate  Conception.     Murillo     .      .  445 

Family  of  Charles  IV.     Goya 452 

The  Holy  Family  ("The  Pearl").     Raphael  453 

Fruit  and  Animals.     Snyders 458 

The  Infanta  Isabella  Clara  Eugenia.     Coello  459 


LONDON 

THE  National  Gallery,  Trafalgar  Square,  was 
built  on  the  site  of  the  old  King's  Mews  in  1832-8 
and  enlarged  in  1860,  1876,  and  1887.  It  was 
formed  by  Act  of  Parliament  in  1824.  To  the  An- 
gerstein  Collection  of  thirty-eight  pictures,  the  Rob- 
ert Vernon  was  added  in  1847 ;  the  J.  M.  W.  Turner 
in  1856;  the  Wynn  Ellis  in  1876  and  the  Peel  in 
1871.  These,  with  various  bequests  and  purchases, 
have  increased  the  gallery  to  about  fifteen  hundred 
works.  The  gallery  is  one  of  general  excellence. 
The  gems  are  the  Holbeins,  Raphaels  and  Leonar- 
dos, but  the  Italian  and  Dutch  Schools  are  particu- 
larly well  represented  and  kept  together.  The  pic- 
tures of  the  modern  British  School  have  been  and 
are  being  removed  to  the  Tate  Gallery,  which  is  an 
annex. 

Duccio  of  Buoninsegna's  Madonna  and  Child 

is  one  of  the  earliest  pictures  in  the  gallery  and  one 
of  the  first  in  which  the  little  Christ  appears  as  a 
real  child  instead  of  a  priestly  babe.  Here  He  is 
familiarly  drawing  aside  His  Mother's  veil. 

The  Battle  of  St.  Egidio,  by  Paolo  Uccello 
(I397-I475)>  is  also  one  of  the  earliest  pictures  in 
the  gallery;  one  of  the  first  that  represents  a  con- 
temporary event ;  one  of  the  first  in-  which  portraits 
are  introduced ;  and,  moreover,  one  of  the  first  in 
which  scientific  perspective  is  apparent. 


2  THE   NATIONAL   GALLERY 

"Look  at  the  young  Malatesta  riding  into  the  battle  of 
Sant'  Egidio.  His  uncle,  Carlo,  the  leader  of  the  army, 
has  just  given  orders  for  the  Knights  to  close :  two  have 
pushed  forward  with  lowered  lances,  and  the  melee  has 
begun  only  a  few  yards  in  front ;  but  the  young  knight 
riding  at  his  uncle's  side,  has  not  yet  put  his  helmet  on, 
nor'intends  doing  so  yet.  Erect  he  sits,  and  quiet,  waiting 
for  his  captain's  order  to  charge ;  calm  as  if  he  were  at  a 
hawking-party,  only  more  grave;  his  golden  hair  wreathed 
about  his  proud  white  brow,  as  about  a  statue's.  The 
armies  meet  on  a  country  road  beside  a  hedge  of  wild 
roses ;  the  tender  red  flowers  tossing  above  their  helmets 
and  glowing  between  the  lowered  lances." — (R.) 

The  Rape  of  Helen,  by  Benozzo  Gozzoli,  is  a 
charming  scene  in  which  the  landscape,  with  its 
mountains  and  cypress  trees,  strangely  shaped 
ships,  and  temple,  forms  a  beautiful  setting  for 
the  episode. 

"  One  can  scarcely  imagine  a  face  or  figure  much  less 
classical  than  that  of  the  blonde  with  the  retrousse  nose 
(presumably  Helen  herself),  who  is  riding  so  compla- 
cently on  the  neck  of  the  long-legged  Italian  in  the 
centre.  The  figures  in  the  Temple  are  of  a  finer  type,  and 
the  lady  in  the  sweeping  robe,  with  the  long  sleeves,  who 
turns  her  back  to  us,  has  a  simple  dignity  which  reminds 
one  less  of  Gozzoli's  master  than  of  Lippo  Lippi  or 
Masaccio.  There  is  nothing  so  classical  or  so  natural  in 
the  picture  as  the  beautiful  little  bare-legged  boy  that  is 
running  away  in  the  foreground.  This  little  bright  panel 
— so  gay,  so  naive,  s,o  ignorant,  and  withal  so  charming — 
is  of  importance  in  the  history  of  art.  It  is  the  first  in 
which  the  artist  has  given  full  play  to  his  imagination,  and 
entered  the  romantic  world  of  classic  legend,  and,  with 
one  exception,  the  first  which  is  purely  secular  in  sub- 
ject, and  was  designed  for  a  '  secular '  purpose." — (C.  M.) 

Fra  Angelica's  Christ  with  the  Banner  of  the 
Redemption  possesses  great  decorative  beauty 
and  spiritual  charm.  Christ  stands  in  the  central 


MADONNA  OF  THE  ROCKS— Leonardo  da  Vinci 

NATIONAL   GALLERY 


THE   NATIVITY— Bo tticelli 

NATIONAL    GALLERY 


f 


LONDON  3 

•<• 

panel  in  the  midst  of  the  angelic  host  relieved  upon 
a  golden  background.  There  are  two  hundred  and 
sixty-six  figures,  no  two  of  which  are  alike.  On 
Christ's  right  are  the  Seraphim  in  red,  on  his  left 
are  the  Cherubim  in  blue.  The  angel  choirs  are 
exquisite. 

"  With  the  flames  on  their  white  foreheads  waving 
brighter  as  they  move,  and  the  sparkles  streaming  from 
their  purple  wings  like  the  glitter  of  many  suns  upon  a 
sounding  sea,  listening  in  the  pauses  of  alternate  song  for 
the  prolonging  of  the  trumpet  blast,  and  the  answering 
of  psaltery  and  cymbal,  throughout  the  endless  deep,  and 
from  all  the  star  shores  of  heaven." — (R.) 

One  of  the  most  characteristic  and  beautiful  ex- 
amples of  Florentine  Art  is  the  Virgin  Adoring 
the  Infant  Christ,  with  an  Angel  standing  on 
each  side  of  her.  It  is  variously  attributed  to  the 
School  of  Verrocchio,  and  to  A.  Pollaiuolo. 

"  It  shows  the  most  delicate  appreciation  of  the  beauty 
of  the  human  body,  especially  in  the  hands  and  the  heads 
of  the  angels.  Hardly  elsewhere  shall  we  find  hands  so 
refined  in  modelling  and  so  subtle  in  their  curves,  or  faces 
of  so  sweet  and  childlike  a  loveliness.  In  the  presence  of 
pictures  of  so  rare  a  quality,  one  does  not  need  the  au- 
thority of  a  great  name  to  stimulate  admiration. 
The  perfection  of  the  execution  of  this  beautiful  pic- 
ture, in  which  complete  finish  of  the  most  delicate  detail 
is  achieved  without  a  sense  of  over-elaboration,  or  diffi- 
culty, betrays  a  hand  and  eye  almost  as  fastidious  and 
highly  trained  as  Leonardo's." — (C.  M.) 

Compare  this  with  the  Madonna  and  Child, 
by  Lorenzo  di  Credi,  a  pupil  of  Verrocchio. 

The  Martyrdom  of  St.  Sebastian,  by  Pollai- 
uolo, is  one  of  the  first  pictures  in  which  the  human 
form  is  studied  for  its  own  sake. 


4  THE   NATIONAL   GALLERY 

"  A  remarkable  and  admirably  executed  work,  with 
numerous  horses,  many  undraped  figures,  and  singularly 
beautiful  foreshortenings.  The  painting  has  been  more 
extolled  than  any  other  ever  executed  by  Antonio.  He 
has  evidently  copied  nature  to  the  utmost  of  his  power,  as 
we  perceive  more  particularly  in  one  of  the  archers,  who, 
bending  towards  the  earth,  and  resting  his  weapon  against 
his  breast,  is  employing  all  the  force  of  a  strong  arm  to 
prepare  it  for  action;  the  veins  are  swelling,  the  muscles 
strained,  and  the  man  holds  his  breath  as  he  applies  all  his 
strength  to  the  effort."— (V.) 

Signorelli's  Circumcision  of  Christ  is  notable 
for  its  stately  architecture,  and  the  fine  grouping 
of  the  figures. 

"  This  also  is  considered  a  wonderfully  beautiful  pic- 
ture;  but  the  Child,  having  been  injured  by  the  damp,  was 
repaired  by  Sodoma,  whereby  the  beauty  was  much 
diminished." —  (  V. ) 

The  pictures  by  Botticelli  reveal  many  sides  of  his 
genius.  The  largest  is  the  Assumption  of  the 
Virgin. 

"  Original  and  grand  in  its  conception,  the  wide  expanse 
of  sky  being  filled  with  great  zones  of  the  angelic  hierarchy, 
and  all  the  company  of  heaven,  while  below,  and  behind  the 
figures  of  the  Apostles  who  stand  round  the  Virgin's  tomb, 
we  see  the  valley  of  the  Arno,  with  the  city  of  Florence  and 
another  town.  The  wonderful  energy  of  the  angels  and 
the  boldness  of  the  design  attest  the  invention  of  Botti- 
celli."—(C.  M.) 

The  Nativity  was  painted  thirty  years  later. 

"  In  this  picture  we  see  that  intensity  of  feeling,  which 
is  the  peculiar  characteristic  of  Botticelli,  strained  to  its 
highest  pitch.  The  fervour  of  the  still  Madonna,  as  she 
kneels  before  the  Child;  the  extraordinary  nervous  tension 
which  the  artist  has  managed  to  suggest  in  the  seated 
figure  of  Joseph;  the  rapture  of  the  angels  below  at  meet- 


LONDON  5 

ing  their  redeemed  friends ;  the  ardour  of  the  angels  at 
the  sides,  who  introduce  the  awestricken  shepherds  and 
kings ;  and,  finally,  the  wild  ecstasy  of  the  angels  above  as 
they  dance  around  the  throne,  present  such  a  picture  of 
highly  wrought  emotion  as  even  Botticelli  himself  has 
never  equalled." — (C.  M.) 

Mars  and  Venus  was  probably  intended  as  the 
decoration  of  a  doorway  for  one  of  the  Medici  pal- 
aces. In  Venus  we  may  see  a  likeness  of  Simonetta. 
She  half  reclines  in  a  graceful  attitude,  the  drapery 
sweeping  about  her  in  rich  folds.  Mars  lies  asleep. 
Little  Satyrs  play  with  his  armour,  and  one  of 
them  is  blowing  a  shell  in  his  ear  to  arouse  him. 

"  How  he  revelled  in  the  soft  wavy  lines  of  their  curly- 
haired  little  flanks,  in  the  curves  of  their  baby  arms  en- 
twined at  intervals  round  the  straight  shaft  of  the  hero's 
spear.  Their  gleeful  little  faces  faintly  recall  some  of 
Fra  Filippo's  children's  heads;  and  there  is  a  distinct  rem- 
iniscence of  Botticelli's  Pollaiuolesque  training  in  the  ad- 
mirable foreshortening  of  the  warrior's  face.  The  colour- 
ing of  this  panel  is  in  the  pale,  cold  tints  that  Botticelli  al- 
ways employed  for  his  decorative  work,  the  darkness  of 
the  myrtles  in  the  background  being  carefully  calculated  to 
throw  up  the  lines  of  the  lady's  draperies  and  the  contour 
of  the  nude  figure."^(A.  S.) 

Among  mythological  pictures  the  Death  of 
Procris,  by  Piero  di  Cosimo,  is  notable. 

"  In  creating  his  Satyr,  the  painter  has  not  had  recourse 
to  any  antique  bas-relief,  but  has  imagined  for  himself  a 
being  half  human,  half  bestial,  and  yet  wholly  real ;  nor 
has  he  portrayed  in  Procris  a  nymph  of  Greek  form,  but  a 
girl  of  Florence.  The  strange  animals  and  gaudy  flowers 
introduced  into  the  landscape  background  further  remove 
the  subject  from  the  sphere  of  classic  treatment.  Floren- 
tine realism  and  quaint  fancy  being  thus  curiously  blended, 
the  artistic  result  may  be  profitably  studied  for  the  light  it 
throws  upon  the  so-called  Paganism  of  the  earlier  Re- 
naissance."—  (J.  A.  S.) 


6  THE   NATIONAL    GALLERY 

Fra  Lippo  Lippi's  St.  John  the  Baptist    is  a 

Holy  Conversation  in  which  six  saints  appear. 

"  All  these  saints  are  also  men,  clearly  characterised. 
Their  heads  are,  indeed,  more  or  less  typical,  but  they  are 
individual  also.  They  are  like  portraits  '  idealised,'  as  we 
say,  in  conformity  with  the  traditions  of  the  particular 
saints.  The  features  and  gestures  of  some  of  them  were 
studied  from  men  who  were  alive  in  Florence  when  the 
picture  was  painted.  They  have  all  different  modes  of  ex- 
pressing their  attention  to  the  golden  words  which  fall 
from  the  mouth  of  the  Baptist.  S.  Cosmos  looks  up,  S. 
Damian  looks  down,  the  eyes  of  S.  Francis  are  fixed  on 
S.  John,  those  of  S.  Lawrence  on  the  ground,  or  perhaps 
on  the  stigmata  of  S.  Francis,  S.  Anthony  stretches  his 
right  hand  towards  the  speaker,  S.  Peter  Martyr  holds  his 
up  to  his  ear  as  if  in  fear  to  lose  a  word.  Without  undue 
familiarity,  there  is  a  sense  of  society;  the  feeling  as 
well  as  the  composition  is  bound  in  one  by  a  tie  of  human 
sympathy." — (C.  M.) 

The  Annunciation  is  a  tender  and  poetic  con- 
ception. 

"  Robbed  of  his  nimbus  and  wings,  the  announcing  angel 
is  only  a  comely,  round-headed  Florentine  boy  with  closely 
curling  hair,  who  delivers  his  message  with  simple  and 
charming  grace,  and  she,  the  Virgin  who  receives  it  with 
so  sweet  and  humble  a  courtesy,  might  be  his  sister.  The 
whole  composition  is  lovely  and  harmonious.  The  gentle 
bearing  of  the  angel  is  beautifully  echoed  by  the  timid 
reverence  of  the  Virgin  and  the  note  of  delightful  wonder 
which  these  figures  strike  is  sustained  at  the  same  pitch 
throughout  by  the  strangeness,  the  variety,  and  the  beauty 
of  the  details.  From  the  exquisite  wings  of  the  angel  to 
the  richly  coloured  marbles  which  floor  the  Virgin's  little 
court,  everything  in  the  picture  is  pure  and  lovely." — 
(C.  M.) 

Raphael's  Vision  of  a  Knight  is  his  earliest 
known  work. 


RAPHAEL  AND  TOBIAS— Perugino 

NATIONAL    GALLERY 


LONDON  7 

The  Knight,  sleeping  under  a  laurel,  sees  in  a 
dream  the  figure  of  Duty,  purple-robed  with  book 
and  sword,  and  that  of  Pleasure,  decked  in  ribbons 
and  a  coral  wreath,  offering  the  sprig  of  myrtle, 
dear  to  Venus. 

To  his  second 'period  belongs  St.  Catherine  of 
Alexandria,  who  leans  on  her  wheel,  and  looks 
up  to  heaven  with  her  right  hand  on  her  bosom,  and 
her  lips  parted  in  ecstasy.  Note  the  landscape  and 
the  beautifully  painted  dandelion  that  has  gone  to 
seed. 

The  Aldobrandini  Madonna,  also  called  the 
Garvagh  Madonna,  belongs  to  Raphael's  third 
period. 

The  group  consists  of  the  Madonna,  the  Child 
and  the  Infant  John  the  Baptist,  to  whom  Jesus  is 
handing  a  pink. 

"  In  this  picture,  one  of  the  gravest  and  most  noble  of 
Raphael's  works,  is  seen,  more  than  in  all  the  preceding 
ones,  the  influence  exercised  over  the  artist  by  the  beauty 
of  the  Roman  women,  so  different  from  those  whom  he 
had  painted  in  Umbria." — (M.) 

The  Ansidei  Madonna  was  purchased  from  the 
Duke  of  Marlborough  in  1884  for  £70,000,  at  that 
time  the  highest  price  ever  paid  for  a  picture : 

"  In  the  centre  is  the  Virgin  seated  upon  a  somewhat 
lofty  throne  and  holding  on  her  lap  the  divine  Infant, 
whom  she  is  teaching  to  read;  to  the  right,  St.  Nicholas 
of  Bari,  in  his  episcopal  robes  and  reading  from  a  book, 
which  he  holds  in  both  hands ;  to  the  left,  St.  John  the 
Baptist.  The  throne  of  the  Virgin  is  surmounted  by  a 
canopy,  and  the  background  of  the  picture  is  a  landscape 
with  a  fortified  town,  while  the  whole  composition  is  in- 
closed in  an  arcade  with  massive  pillars." — (M.) 

Perugino's  Virgin  and  Child,  with  St.  Jerome 


8  THE   NATIONAL   GALLERY 

• 

and   St.   Francis,   is   a  beautiful  example   of  this 
Umbrian  master. 

"  Not  even  in  the  Pavia  altar-piece  is  the  peculiar  virtue 
and  true  mastery  of  Perugino  more  clearly  shown  than  in 
this  work  of  his  later  age,  which  glows  as  if  the  whole  air 
was  woven  of  golden  light." — (C.  M:) 

A  greater  work  is  the  Virgin  Adoring  the  In- 
fant Christ,  with  the  Archangel  Michael  on  the 
left  wing,  and  Raphael  and  Tobias  on  the  right.  It 
was  originally  an  altar-piece  of  six  wings. 

"  Clear,  calm,  placid,  perpetual  vision  far  and  near;  end- 
less perspicuity  of  space,  unfatigued  veracity  of  eternal 
light,  perfectly  accurate  delineation  of  every  leaf  on  the 
trees  and  every  flower  in  the  fields  (notice  especially  in 
the  foreground,  the  '  blue  flower  fit  for  paradise  '  of  the 
central  compartment).  There  is  no  darkness,  no  wrong. 
Every  colour  is  lovely  and  every  space  is  light.  The 
world,  the  universe  is  divine ;  all  sadness  is  a  part  of 
harmony;  and  all  gloom  a  part  of  peace." — (R.) 

The  right  wing  is  one  of  the  most  beautiful  ex- 
amples of  the  story  of  Tobias  ever  painted. 

"  The  scene  is  of  the  simplest.  It  takes  place  in  a  land- 
scape shut  in  by  quite  low  hills;  and  the  two  personages, 
the  Archangel  Raphael  and  young  Tobias,  are  placed  ex- 
actly in  the  foreground,  upon  a  hillock  sown  with  all  kinds 
of  flowers.  The  archangel  is  represented  as  a  handsome 
and  slender  young  man  with  fine  blond  hair  falling  over 
his  shoulders.  In  his  left  hand,  brought  up  to  the  height 
of  his  chest,  the  archangel  holds  a  little  box ;  his  right 
hand,  with  graceful  action,  clasps  that  of  Tobias,  who 
lifts  his  eyes  towards  his  guide  and  contemplates  him  with 
a  tender  and  submissive  glance ;  suspended  by  a  string 
upon  his  right -wrist,  the  latter  carries  the  fish,  the  gall 
of  which  is  to  restore  his  old  father's  sight.  The  painter 
has  represented  young  Tobias  in  the  elegant  costume  worn 
by  the  Italian  nobility  at  the  end  of  the  Fifteenth  Century. 
A  nimbus  encircles  his  head. 


LONDON  9 

"  It  would  be  impossible  to  carry  any  further  than  the 
old  Umbrian  master  has  done  in  this  panel  naivete  and 
delicacy  of  expression,  purity  and  correctness  of  drawing, 
grace  and  religious  sentiment,  tenderness  and  beauty  of 
colouring,  taste  in  the  attitudes,  and  a  strange  and  some- 
what peculiar  charm;  impossible  ever  to  find  lines  that 
are  happier  or  more  delicate." — (P.  L.) 

One  of  the  greatest  treasures  is  Leonardo  da 
Vinci's  Virgin  of  the  Rocks,  which,  like  the 
Vierge  aux  Rochers  in  the  Louvre,  claims  to  be 
the  original  work  (see  page  53). 

The  influence  of  Leonardo  is  seen  in  Luini's 
Christ  Disputing  with  the  Doctors. 

"  This  picture,  besides  its  splendid  colouring,  is  a  good 
instance  of  that  law  of  order  or  symmetry  which  is  char- 
acteristic of  all  perfect  art.  The  central  figure  faces  us; 
there  are  two  figures  on  one  side,  balanced  by  two  on  the 
other ;  the  face  in  the  left  corner  looks  right,  that  in  the 
right  corner  looks  left,  whilst  to  break  any  too  obtrusive 
symmetry,  the  head  of  Christ  itself  inclines  somewhat  to 
the  left  also."— (E.  T.  C.) 

Titian  is  finely  represented.  His  Bacchus  and 
Ariadne  always  compels  attention. 

"Though  as  yet  half  unconscious,  Ariadne  is  already 
under  her  fated  star :  for  above  is  the  constellation  of 
Ariadne's  crown — the  crown  with  which  Bacchus  presented 
his  bride.  And  observe  in  connection  with  the  astronomical 
side  of  the  allegory  the  figure  in  Bacchus's  train  with  the 
serpent  round  him:  this  is  the  serpent-bearer  (Milton's 
'  Ophiuchus  huge  ')  translated  to  the  skies  with  Bacchus 
and  Ariadne.  Notice  too  another  piece  of  poetry:  the 
marriage  of  Bacchus  and  Ariadne  took  place  in  the  spring, 
Ariadne  herself  being  the  personification  of  its  return, 
and  Bacchus  of  its  gladness ;  hence  the  flowers  in  the  fore- 
ground which  deck  his  path. 

"  The  picture  is  as  full  of  the  painter's  art  as  of  the 
poet's.  Note  the  exquisite  painting  of  the  vine  leaves,  and 


io  THE   NATIONAL   GALLERY 

of  these  flowers  in  the  foreground,  as  an  instance  of  the 
'  constant  habit  of  the  great  masters  to  render  every  detail 
of  their  foreground  with  the  most  laborious  botanical 
fidelity.'  "— (E.  T.  C.) 

"  To  Ariadne  is  given  (say  the  critics)  a  red  scarf  to 
relieve  the  figure  from  the  sea,  which  is  behind  her.  It 
is  not  for  that  reason  alone,  but  for  another  of  much 
greater  consequence ;  for  the  sake  of  the  general  harmony 
and  effect  of  the  picture.  The  figure  of  Ariadne  is 
separated  from  the  great  group,  and  is  dressed  in  blue, 
which,  added  to  the  colour  of  the  sea,  makes  that  quantity 
of  cold  colour  which  Titian  thought  necessary  for  the 
support  and  brilliancy  of  the  great  group ;  which  group  is 
composed,  with  very  little  exception,  entirely  of  mellow 
colours.  But  as  the  picture  in  this  case  would  be  divided 
into  two  distinct  parts,  one  half  cold,  and  the  other  warm, 
it  was  necessary  to  carry  some  of  the  mellow  colours  of 
the  great  group  into  the  cold  part  of  the  picture,  and  a 
part  of  the  cold  into  the  great  group ;  accordingly,  Titian 
gave  Ariadne  a  red  scarf,  and  to  one  of  the  Bacchante  a 
little  blue  drapery." — (J.  R.) 

His  Noli  me  tangere  is: 

"  A  picture  deservedly  celebrated  for  the  expressive 
gesture  of  the  figures,  the  beauty  of  its  sycamore  tree  and 
landscape  and  its  excellent  preservation.  This  picture, 
from  its  earliness  and  the  simplicity  of  its  subject,  is  a 
good  one  to  compare  with  those  of  Bellini  and  his  earlier 
pupils."— (C.  M.) 

In  the  Holy  Family,  with  a  shepherd  adoring, 
the  Virgin  and  the  colour  of  her  drapery  are  rem- 
iniscent of  Palma  Vecchio.  It  is  a  work  that 
marks  the  advance  made  by  Titian  in  the  treatment 
of  landscape. 

"  Titian  is  never  more  charming  than  when  he  paints 
his  figures  in  a  landscape  setting.  The  Virgin  and  Child 
zvith  St.  John  and  St.  Catherine  show  this  perfect  accord 


LONDON  ii 

between  the  figures  and  the  sweet  and  harmonious  sur- 
roundings, and  all  the  charm  that  the  beauty  of  sky  and 
foliage  can  add  to  the  Christian  idyll.  The  sombre  line  of 
a  forest  dips  and  runs  away  on  the  right  to  join  distant 
ridges  that  bar  the  horizon;  meadows  spread  under  the 
sweet  and  fine  sky,  streaked  with  rays  through  which 
angels  pass  in  their  flight:  a  work  of  exquisite  grace,  full 
of  peace  and  silence." — (M.  H.) 

The  Portrait  of  Ariosto  by  Palma  Vecchio  is 
by  some  critics  attributed  to  Titian. 

"  The  poet  is  dressed  in  the  richest  materials,  and 
adorned  almost  like  a  beautiful  lady,  with  a  gold  chain 
encircling  his  neck  several  times,  and  even  a  bracelet,  but 
the  rarest  and  most  beautiful  part  of  the  picture  consists 
in  its  expression.  Its  laurel  background  serves  to  com- 
plete the  poetic  symbolism." — (A.  G.) 

The  Family  of  Darius,  representing  Alexander 
the  Great  surrounded  by  his  generals,  and  receiving 
the  family  of  the  defeated  Persian  King,  is  called 
by  Ruskin  "  the  most  precious  Paul  Veronese  in 
the  world."  It  glows  with  colour.  The  chief  fig- 
ures are  portraits  of  the  Pisani  family. 

"  The  work  is  in  itself  a  school  of  art,  where  every 
quality  of  the  master  is  seen  in  perfection — his  stately 
male  figures,  his  beautiful  women,  his  noble  dog  and  even 
his  favourite  monkey,  his  splendid  architecture,  gem-like 
colour,  tones  of  gold  and  silver,  sparkling  and  crisp  touch, 
marvellous  facility  of  hand  and  unrivalled  power  of  com- 
position."— (A.  H.  L.) 

Of  exquisite  beauty  is  the  Vision  of  St.  Helena 
asleep  at  her  window,  while  two  cherubs  appear  in 
the  sky  with  the  Holy  Cross. 

"  The  head  of  the  saint  is  resting  gracefully  upon  her 
right  hand ;  her  profile  is  delicious ;  and  from  her  parted 
lips  escapes  the  soft  breath  of  slumber.  Her  expression  is 


12  THE   NATIONAL   GALLERY 

of  the  greatest  purity.  All  the  charm  of  the  woman  is 
revealed  in  the  curve  of  her  neck,  her  ear  and  in  her  rich 
hair,  a  tress  of  which  is  falling  upon  her  shoulder.  The 
harmony  of  the  lines  and  the  harmony  of  the  colours  are 
one ;  the  careless  attitude  delights  us ;  and  the  work, 
wrought  according  to  the  relative  importance  of  each  of 
its  parts,  for  the  pleasure  of  the  eye  is  complete." — (P.  L.) 

Veronese's  Adoration  of  the  Magi  is 

"  A  striking  example  of  the  old  symbolical  conception, 
according  to  which  the  Adoration  of  the  Magi — the  tribute 
of  the  wise  men  from  the  East  to  the  dawning  star  of 
Christianity — was  represented  as  taking  place  in  the  ruins 
of  an  antique  temple,  signifying  that  Christianity  was 
founded  upon  the  ruins  of  Paganism." — (E.  T.  C.) 

In  the  Origin  of  the  Milky  Way,  we  have  an 
example  of  Tintoret's  treatment  of  classical  sub- 
jects, which  is  still  more  characteristic,  in  the  head- 
long flight  of  Jupiter,  and  the  daring  way  in  which 
the  white  tapering  limbs  of  Juno  are  flung  across 
the  canvas. 

"  In  certain  qualities  of  light  and  colour,  especially  in 
lustre  and  variegation,  it  would  be  difficult  to  excel." — 
(C.  M.) 

The  great  Venetian  exhibits  his  fiery  spirit  in 
St.  George  Destroying  the  Dragon. 

"  A  sketch  rapid  and  careless,  but  full  to  the  corners 
with  the  rapid  heat  of  a  tumultuous  conception  in  which 
earth,  sky  and  creatures,  living  and  dead  are  impregnated 
with  the  force  of  an  august  imagination." — (C.  M.) 

There  are  eight  splendid  examples  of  Crivelli ; 
perhaps  the  most  beautiful  of  these  is  the  Annun- 
ciation, in  which  is  seen  the  inside  of  the  Virgin's 
chamber,  the  outside  of  her  house,  and  a  realistic 
street  scene. 


LONDON  13 

"  His  lively  fancy  has  had  its  fullest  play,  and  revels  in 
a  gorgeousness  and  elaboration  of  detail  even  beyond  his 
wont.  Fortunately  for  him,  his  imagination  was  not  tram- 
melled by  questions  of  historical  accuracy  or  physical 
possibilities. 

"  Here,  for  once,  also  he  gives  us  not  only  the  incident, 
but  introduces  spectators,  as  was  the  custom  of  the  Floren- 
tine School  of  the  same  period.  Besides  the  frankly 
anachronistic  bishop,  there  are  several  figures  in  the  street 
dressed  in  the  Italian  costume  of  Crivelli's  time.  One 
noble-looking  gentleman,  dazzled  by  the  sudden  beam  of 
light  that  strikes  across  the  road,  raises  his  hand  to  his 
brow,  the  better  to  investigate  the  extraordinary  phenome- 
non. Still  more  naive  and  delightful  is  the  little  child  who 
timidly  peeps  from  a  place  of  vantage  at  the  mysterious 
occurrence  that  is  taking  place  over  the  way. 

"  Thus  we  have  the  whole  scene  idyllically,  even  dramat- 
ically, rendered,  as  though  we  were  present  at  an  exquis- 
itely mounted  play." — (C.  M.) 

Our  Lady  of  the  Swallow  is  another  beautiful 
picture,  taking  its  name,  Madonna  della  Rondine, 
from  the  swallow  above  the  throne.  The  Virgin's 
dress  is  magnificent  and  the  fruits  and  vase  of  flow- 
ers are  beautifully  treated. 

In  another  great  altar-piece,  No.  788,  he  has 

"  used  the  crown  of  a  cherub's  head  as  a  decorative  fea- 
ture on  the  base  of  the  throne  of  the  same  picture.  It  is 
to  be  remarked  that  the  beautiful  festoons  which  decorate 
the  base,  though  adjusted  to  resemble  carved  ornament, 
are  meant  for  real  fruit.  They  are  tied  with  string  and 
fastened  with  nails.  Such  ingenious  and  abundant  fancies, 
if  they  do  not  make  the  greatest  art,  are  full  of  interest 
and  charm,  and  render  the  work  of  Crivelli  fascinating  in 
no  usual  degree,  if  only  for  its  decorative  detail." — (C.  M.) 

Bellini's  Christ's  Agony  in  the  Garden  shows 
Christ  kneeling  on  a  little  hill,  with  His  apostles 
in  the  foreground,  and  an  angelic  vision  on  a 
cloud. 


14  THE   NATIONAL   GALLERY 

"  We  see  for  the  first  time  an  attempt  to  render  a 
particular  effect  of  light,  the  first  twilight  picture  with 
clouds  rosy  with  the  lingering  gleams  of  sunset,  and  light 
shining  from  the  sky  on  hill  and  town — the  first  in  which 
a  head  is  seen  in  shadow  against  a  brilliant  sky." — (C.  M.) 

His  Madonna  of  the  Pomegranate  is  an  early 
work.  The  Child  is  about  to  take  a  pomegranate 
from  the  Virgin's  hand.  On  either  side  of  the 
green  hanging,  which  forms  the  background,  the 
landscape  is  visible. 

"  In  all  his  versions  of  the  Madonna  and  Child,  the 
exact  shade  and  variety  of  the  feeling  are  perfectly  explicit 
and  almost  always  distinct ;  and  the  richness  of  his  in- 
vention is  shown  by  the  perfect  harmony  of  the  particular 
feeling  expressed  by  the  mother  with  the  pose  and  expres- 
sion of  the  Child."— (R.  E.  F.) 

A  masterpiece  by  Pisanello  is  the  Miraculous 
Stag  appearing  to  St.  Eustache,  famous  for  its 
beautiful  treatment  of  animal  life. 

"  The  Saint  himself  riding  out  to  the  chase,  reins  back 
his  steed,  covered  with  rich  trappings,  as  he  sees  before 
him  a  great  stag  with  between  his  horns  the  Crucified 
Christ.  Elsewhere  in  the  picture  a  hound  is  chasing  a 
hare ;  in  the  marsh  above  herons  are  fishing  in  their  quiet 
deliberate  manner;  stags  are  browsing;  a  bear  climbs  the 
hillside ;  and  every  hair,  every  feather  of  these  creatures 
is  finished  to  perfection." — (S.  B.) 

Marco  Basaiti's  St.  Jerome  Reading  in  a  land- 
scape, where  walls  and  flowers  rise  on  the  steep 
hillside,  should  be  compared  with  one  by  Catena, 
also  a  masterpiece. 

"  His  period  of  penitence  over,  the  Saint  is  seated  in  the 
study  of  the  monastery  which  he  built  at  Bethlehem,  read- 
ing intently  and  engaged  perhaps  in  his  translation  of  the 
Scriptures  (the  Vulgate).  The  sense  of  retirement  and 


THE  ANNUNCIATION— Crivelli 

NATIONAL   GALLERY 


VISION  OF  ST.  HELENA— Veronese 

NATIONAL   GALLERY 


LONDON  15 

peace  is  perfectly  given,  and  is  undisturbed  even  by  the 
presence  of  his  lion,  his  dog  and  his  partridge,  who  are  en- 
joying a  luxurious  leisure.  His  figure  is  beautiful  and  full 
of  serene  dignity  as  he  sits  absorbed  in  his  book  with  his 
slender  hand  raised  to  his  forehead.  The  colour  is  pure, 
bright  and  clear,  and  the  details  are  all  painted  with  such 
truth  and  care  that  they  might  suggest  the  hand  of  a 
Fleming,  except  that  no  regard  is  paid  to  the  reflection  of 
colour.  It  will  be  observed  that  his  cardinal's  hat  is  blue." 
-(C  M.) 


Mantegna's  Madonna  exhibits  a  thoughtful  and 
contemplative  Virgin  with  the  Child  on  her  knee, 
and  on  either  side  the  tall  and  earnest  Magdalen 
and  John  the  Baptist. 

"  The  drawing  of  the  bodies  as  well  as  of  the  draperies 
is  worthy  of  admiration,  and  the  extremities,  especially  the 
feet,  are  excellently  treated.  The  figures,  in  the  subdued 
dignity  of  their  motions,  and  the  bright  clearness  of  their 
colours,  stand  out  in  a  genuine  poetic  spirit  from  the  back- 
ground of  dark  green  orange  trees  laden  with  golden  fruit, 
and  the  sky  with  its  silvery  clouds." — (A.  W.) 

The  Triumph  of  Scipio  represents  Scipio  re- 
ceiving, according  to  the  command  of  the  oracle, 
Cybele,  the  Phrygian  mother  of  the  gods.  The  de- 
tails show  the  painter's  familiarity  with  classical 
traditions. 

The  Madonna  and  Child  with  Saints,  by  Er- 
cole  di  Giulio  Grandi,  is  an  altar-piece  remarkable 
for  its  decorative  details  and  splendid  throne  with 
sculpturesque  ornaments  on  which  the  Madonna  sits. 
Costa's  Madonna  and  Child,  also  enthroned,  has 
a  landscape  in  the  background  that  recalls  Peru- 
gino. 

Garofalo  has  a  fine  Madonna  and  Child  En- 
throned. 


16  THE   NATIONAL   GALLERY 

The  Vision  of  St.  Augustine,  which  refers  to 
the  lesson  the  Saint  received  from  a  child  on  the 
seaside  trying  to  empty  the  sea  into  the  hole  he  had 
dug.  St.  Catherine,  standing  by,  looks  into  the  sky 
at  the  Virgin,  Child  and  angels : 

"  This  picture  is  of  that  period  of  Garofalo's  career  in 
which  he  combined  the  powerful  and  full  mode  of  painting 
by  which  Raphael's  pupils  from  Bologna  and  Ferrara  dis- 
tinguished themselves  above  the  others,  with  the  more 
noble  expression,  the  purer  forms  and  the  grace  of 
Raphael."— (W.) 

The  Virgin  Enthroned  and  St.  Anne  is  Fran- 
cia's  best-known  work.  Little  St.  John  with  his 
scroll  appears  at  the  foot  of  the  throne,  near  which 
stand  three  other  saints. 

The  Piet^,  in  which  the  Virgin  and  two  angels 
are  weeping  over  the  dead  body  of  Christ,  was  the 
lunette  for  this  altar-piece: 

"  There  is  no  finer  representation  of  the  dread  scene  to 
be  found  in  the  whole  range  of  Italian  art.  There  is  noth- 
ing in  which  pathos  and  sublimity  are  so  happily  blended, 
and  in  which  there  are  no  distracting  elements  to  be  con- 
sidered."—(G.  C.  W.) 

Noticeable  for  its  gentleness  and  sweetness  is 
Girolamo  dai  Libri's  Madonna,  Infant  Christ 
and  St.  Anne.  The  lemon  tree,  the  trellis-work 
of  roses,  and  the  three  little  angels  making  music 
are  beautifully  painted.  The  slain  dragon  at  the 
Virgin's  feet  is  emblematic  of  Christ's  victory  over 
evil.  This  charming  picture  hung  in  the  Church  of 
the  Scala  in  Verona  next  to  the  San  Rocco  of 
Cavaggola  by  Morando  now  also  its  neighbour. 
In  the  last,  St.  Roch,  or  Rocco,  patron  of  the 
plague-stricken,  has  prepared  to  die  when  an 
angel  appears  to  dress  his  sores. 


LONDON  17 

Other  lovely  altar-pieces  are  Marco  Basaiti's 
Madonna  of  the  Meadow,  at  one  time  attributed 
to  Giovanni  Bellini ;  Cima  da  Conegliano's  Virgin 
and  Child  with  the  characteristic  hilly  landscape 
of  this  master;  Madonna  and  Child,  by  Paolo 
Morando;  Sodoma's  Madonna  and  Child  with 
Saints;  Beltraffio's  Madonna  and  Child,  recall- 
ing Leonardo  in  the  languishing  grace  of  the  Vir- 
gin; and  a  Nativity  by  Romanino. 

Sebastiano  del  Piombo's  Raising  of  Lazarus 
was  painted  for  Cardinal  Giulio  de'  Medici,  for 
whom  Raphael  painted  the  Transfiguration.  Both 
pictures  were  exhibited  together ;  and  many  persons 
preferred  Sebastiano's,  in  which  it  is  said  that 
Michael  Angelo  helped  him. 

Correggio's  Madonna  della  Cesta  (Virgin  of 
the  Basket)  takes  its  name  from  the  basket  repre- 
sented in  the  painting. 

"  The  composition  is  quite  simple,  consisting  merely  of 
peaceful  representation  of  domestic  life.  The  Madonna 
is  sitting  in  a  charming  landscape  background,  and 
has  a  basket  near  her  containing  linen  and  a 
pair  of  scissors.  She  has  just  put  a  little  shirt  over 
the  Infant  Jesus,  who  is  sitting  in  her  lap,  and  with 
the  impulsive  impatience  of  childhood  throws  himself  side- 
ways in  order  to  take  hold  of  something.  Joseph  is  at 
work  carpentering  in  the  background.  Mengs  praises  in 
this  picture  the  way  in  which  Correggio  has  softened  off 
the  light  to  the  background,  the  gradual  melting  away  of 
the  objects  represented,  till  they  are  absorbed  in  the  haze 
of  distance.  Everything  looks  enveloped  in  a  soft  veil  of 
light  and  air.  The  refined  and  delicate  management  of  the 
chiaroscuro  constitutes  the  chief  charm  of  the  picture." — 
(J.  M.) 

Ecce    Homo   belongs    to    Correggio's    mature 
period. 
"  The  genuineness  of  the  Ecce  Homo  has  been  doubted, 


i8  THE   NATIONAL   GALLERY 

but  quite  without  grounds.  The  treatment  is  wonderfully 
fine.  Every  nerve  of  the  thorn-crowned  Saviour  throbs 
with  bodily  pain,  as  may  be  seen  in  the  quivering  of 
his  lips  and  in  his  overflowing  eyes;  and  the  Virgin  is 
rigid,  as  if  in  a  state  of  convulsion  or  of  half  conscious- 
ness. At  the  same  time  there  is  a  moral  depth  in  this  con- 
ception of  pain,  refined  by  the  highest  beauty." — (A.  G.) 

The  School  of  Love,  or  Education  of  Cupid, 
is  unusually  fine  in  composition  and  grouping. 

"  Surrounded  by  a  lovely  landscape  through  the  upper 
part  of  which  appears  the  sky,  are  three  blooming  figures 
delineated  in  flowing  outlines.  Mercury,  who  is  in  a  sit- 
ting posture,  helps  Cupid,  who  is  standing  near  him,  to 
decipher  the  letters  of  a  paper  that  he  holds  in  his  little 
hand.  Cupid  is  very  zealous,  and  his  unwonted  efforts  are 
displayed  with  charming  naturalness  in  the  constrained 
position  of  his  delicate  limbs.  Close  to  him  in  a  front 
view  with  her  left  arm  resting  against  a  tree,  stands  Venus, 
also  winged,  looking  down  archly  upon  the  spectators. 
Graceful  and  easy,  the  attitude  of  her  slender  limbs  is  sug- 
gestive of  rest.  Her  rounded  and  delicate  form,  though 
not  derived  from  the  antique,  is  yet  of  great  beauty."— 
(J.  M.) 

Salvator  Rosa's  Mercury  and  the  Woodman 

is  an  illustration  of  yEsop's  fable  of  the  workman 
who  threw  his  axe  into  the  stream.  Mercury  is 
standing  in  the  water,  rebuking  him  for  his  folly. 
The  picture  is  strikingly  lacking  in  colour  and  the 
painter's  choice  of  withered  trees 
"  is  precisely  the  sign  of  his  preferring  ugliness  to  beauty, 
decrepitude  and  disorganisation,  to  life  and  youth." — 

(R.) 

Rinaldo  Mantovano's  Rape  of  the  Sabines  de- 
picts the  attack  upon  the  Sabines  by  Romulus  and 
his  followers,  in  the  upper  compartment,  and  the 


LONDON  19 

battle  of  the  Sabines  to  recover  their  daughters, 
and  the  reconciliation,  in  the  lower. 

The  Capture  of  Carthagena  is  a  companion 
picture. 

These  two  works  were  formerly  attributed  to 
Giulio  Romano. 


Guido  Reni's  Youthful  Christ  Embracing  St. 
John  is  a  charming  study  of  children.  Annibale 
Carracci's  Landscape  with  Figures  reveals  the 
influence  of  Titian  and  Paul  Bril.  Canaletto's 
Eton  College  was  painted  about  the  same  time 
that  Gray  published  his  famous  ode.  Canaletto's 
representations  of  Venice  also  have  a  lovely 
mellowness  of  tone. 

Among  the  portraits,  Andrea  del  Sarto's  Young 
Man  (supposedly  himself)  is  particularly  famous. 

"  The  cool,  sweet  colour  of  the  picture,  and  its  silvery 
tone,  distinguish  it  from  all  its  surroundings,  and  the 
contrast  is  increased  by  its  free  but  sure  handling,  the  soft 
modulations  of  the  flesh,  and  the  broad  scheme  of 
chiaroscuro,  which  now  begins  to  take  its  place  as  a  prom- 
inent element  in  the  composition  of  a  picture.  It  is  doubt- 
ful whether  Leonardo  himself  ever  succeeded  so  well  in 
rendering  the  shadowed  softness  of  nature  as  Andrea  does 
in  this  picture." — (C.  M.) 

Of  Moroni's  splendid  portraits,  the  Lawyer  and 
the  Tailor  are  masterly. 

"  If  we  take  into  consideration  the  excellence  of  its 
preservation  (it  seems  as  fresh  in  colour  as  the  day  it  was 
painted),  the  crispness  of  its  execution,  and  its  spirited 
character,  the  Lawyer  ought  to  be  awarded  the  first  place. 
But  the  Tailor,  besides  its  beautiful  and  subtly  gradated 
tones  and  its  life-like  attitude,  has  the  great  merits  of  ex- 
treme simplicity  and  naturalness.  The  action  of  the  man, 
as  he  stays  his  shears  for  a  moment  to  listen  to  a  customer, 


20  THE   NATIONAL   GALLERY 

gives  the  picture  the  charm  of  incident,  the  attraction  of  a 
genre  picture  added  to  that  of  a  portrait;  and  so  it  has 
become,  and  deservedly  become,  one  of  the  most  popular 
of  all  portraits  by  an  old  master.  It  is  perfect  in  char- 
acter, exquisite  in  tone,  and  completely  intelligible  to  every- 
body— a  beautiful  picture  and  a  peepshow  into  the  Six- 
teenth Century,  which  tells  us  that  the  men  then  living 
were  very  much  like  ourselves.  We  meet  Tagliapanni  (for 
this  was  his  name)  every  day  in  the  street." — (C.  M.) 

Giovanni  Bellini  was  eighty  years  of  age  when  he 
painted  the  great  portrait  of  the  Doge  Loredano. 
The  personality  of  his  model  must  have  appealed 
strongly  to  so  noble  a  painter. 

"  The  likeness  that  Bellini  has  left  us  of  this  great  Doge 
worthily  reflects  the  serenity  of  his  soul  and  the  strength 
of  his  will.  His  aspect  is  dignified,  his  physiognomy  is 
grave,  and  his  mouth  is  firmly  closed  as  if  the  lips  were 
contracted,  indicating  decision.  From  the  point  of  view 
of  the  matter  of  the  painting,  Time,  that  becomes  the 
collaborator  of  men  of  genius,  gives  to  their  works  that 
admirable  tone  that,  so  to  speak,  embalms  and  conse- 
crates them,  has  preserved  intact  the  very  flower  of  this 
painting,  and  we  may  also  say  its  soul.  This  prodigious 
portrait  is  certainly  the  most  beautiful  of  all  the  images 
that  remain  to  us." — (C  Y.) 

A  Family  Group,  by  Lorenzo  Lotto,  consists  of 
the  artist,  his  wife,  and  their  two  children. 

"  Their  faces  have  that  glow  of  inner  life  so  character- 
istic of  the  master.  They  are  charming  studies,  especially 
that  of  the  little  girl  on  the  table,  whose  expression  of  in- 
terest in  the  cherries  has  been  caught  with  singular 
felicity."— (C.  M.) 

To  the  portraits  belong  Giorgione's  beautifully 
finished  Knight  in  Armour  and  Solario's  Ve- 
netian Senator  and  Milanese  Lawyer.  The  last 
two  have  landscape  backgrounds. 

Of  the  Flemish  masters  let  us  first  note  John 


THE  TAILOR— Moroni 

NATIONAL   GALLERY 


DOGE   LOREDAXO— Bellini 

NATIONAL   GALLERY 


LONDON  21 

Van  Eyck's  panel  representing  Arnolfini,  a 
draper  of  Bruges,  and  his  wife,  Jeanne  de  Chen- 
any,  one  of  his  most  important  pictures: 

"  This  admirable  and  interesting  piece  represents  the 
union  of  a  man  and  woman  dressed  in  state  and  hold- 
ing each  other's  hand ;  the  lady  wearing  a  wedding-ring 
half  way  up  her  finger,  and  attended  by  a  terrier  of  won- 
drous workmanship.  Harder  outlines  and  clearer  general 
tones  distinguish  this  from  the  painter's  previous  works ; 
yet  in  no  single  instance  has  John  Van  Eyck  expressed 
with  more  perfection,  by  the  aid  of  colour,  the  sense  of 
depth  and  atmosphere;  he  nowhere  blended  colours  more 
carefully,  nowhere  produced  more  transparent  shadows. 
The  carnation  tints  of  the  man's  visage  are  more  remark- 
able for  these  peculiar  qualities  than  any  previous  ones. 
The  finish  of  the  parts  is  marvellous,  and  the  preservation 
of  the  picture  perfect ;  and  there  are  few  things  more  won- 
derful than  the  chandelier  which  hangs  above  the  pair,  the 
bed  and  chairs,  the  floor  and  pattens,  of  the  concave  look- 
ing-glass, in  which  the  figures  are  reflected,  round  the  frame 
of  which  ten  circular  scenes  from  the  Passion  of  Christ 
are  painted." — (C.  and  C.) 

His  Portrait  of  a  Man  of  mature  years  in 
black  fur  garments  and  rich  red  drapery  on  his 
head,  is  painted  in  such  detail  that  the  single  hairs 
on  his  shaven  chin  are  visible.  Another  Portrait 
of  a  Man,  of  a  yellowish  tinge,  is  also  highly  fin- 
ished. 

Memling's  Virgin  and  Child  Enthroned  (1475) 
is  a  beautiful  combination  of  landscape  and 
figures.  The  group  is  in  a  portico  opening  into  a 
garden.  The  Virgin  is  seated  under  a  canopy  with 
the  Child  in  her  lap,  and  holding  a  book  in  her  left 
hand.  Jesus  is  touching  the  book  with  one  hand 
and  pointing  to  a  little  angel  playing  a  lute  on 
His  right.  On  the  other  side  is  the  donor  with 
his  patron  saint,  St.  George,  standing  behind  him, 


22  THE   NATIONAL   GALLERY 

lance  in  hand.  The  garden  is  bright  with  flow- 
ers ;  and  the  landscape,  with  its  river,  boats  and 
castle,  is  charmingly  treated. 

The  Mystic  Marriage  of  St.  Catherine,  by 
Gerard  David,  is  a  sumptuous  picture.  The  scene 
is  a  garden  where  the  Virgin  is  seated  in  a  nicely 
decorated  chair,  her  long  hair  confined  by  pearls. 
St.  Catherine,  who  leans  forward  to  receive  the 
ring  from  the  Holy  Child,  is  splendid  in  crimson 
and  gold  brocade,  and  jewelled  crown.  Beside  her 
is  the  donor,  Richard  de  Visch  van  der  Capelle; 
and,  on  the  other  side  of  the  Virgin,  are  Magdalen 
and  St.  Barbara. 

"  Beyond  the  wall  to  the  right  are  some  pretty  bits  of 
domestic  architecture,  which  remind  one  immediately  of 
Bruges.  On  the  left  are  a  palace  and  an  unfinished  octag- 
onal tower,  bearing  reference  to  the  legend  of  St.  Bar- 
bara. A  squirrel  eating  a  nut  on  the  transom  of  one  of 
the  windows  of  the  house  on  the  right,  a  stork  on  the 
chimney  top,  and  a  bullfinch  on  the  garden  wall  on  the  left 
enliven  the  scene  and  are  painted  with  great  skill.  The 
jewellery,  stuffs  and  draperies  are  rendered  with  David's 
usual  skill,  while  the  background,  with  its  rich  vegetation, 
vigorously  coloured  trees  and  picturesque  buildings,  is 
hardly  surpassed  by  that  of  any  of  his  other  pictures." — 
(W.  H.  J.  W.) 

In  a  panel  from  an  altar-piece,  the  landscape  is 
fine  and  the  vestments  of  the  saints  are  marvellously 
painted.  St.  Martin's  crimson  velvet  cape  is  a 
masterpiece. 

Two  Usurers,  by  Marinus  van  Romerswael, 
also  called  de  Zeeuw  (the  Zeelander),  is  similar  to 
works  by  Quentin  Matsys. 

Mabuse's  Portrait  of  a  Man,  Flemish  in  type, 
with  Italian  Renaissance  architecture  in  the  back- 
ground, is  a  notable  work. 


LONDON  23 

Family  Portraits,  by  Coques,  a  group,  consist- 
ing of  a  father,  mother  and  six  children  in  a  gar- 
den, 

"  justifies  the  surname  of  the  '  Little  Van  Dyck  '  which  has 
been  given  to  Coques,  for  it  nearly  approaches  that  great 
artist  in  elegance  and  ease  of  design,  in  correct  drawing 
and  warmth  of  tone." — (W.) 

One  of  the  most  celebrated  works  in  the  gallery 
is  Rubens's  portrait  of  a  young  lady  of  Antwerp, 
known  as  the  Chapeau  de  Faille.  As  the  hat  she 
wears  is  beaver,  Chapeau  de  Foil  is  probably  the 
original  title. 

"  The  cast  shadows  and  light  local  tones,  the  knowledge 
displayed  in  the  treatment  of  the  sunny  reflections  and  the 
exquisite  transparency  and  truth  with  which  this  youthful 
and  beautiful  head  is  rounded,  produce  an  effect  of  which 
without  having  seen  the  picture,  it  is  impossible  to  form 
an  idea.  Here  we  must  confess  that  Rubens  is  the 
painter  of  light  par  excellence.  The  head  is  painted 
so  con  amore,  the  expression  has  so  much  life  and 
fascination,  that  I  willingly  believe  the  tradition  that  Ru- 
bens fell  in  love  with  the  young  lady  while  painting  her 
picture.  The  colour  is  heightened  by  the  blue  sky  par- 
tially covered  with  thin  clouds,  against  which  the  head  is 
relieved.  The  black  velvet  stomacher,  with  the  scarlet 
sleeves,  and  the  arms  crossed  in  an  easy  position,  are  most 
masterly  and  rather  more  broadly  treated,  as  well  as  the 
bosom."— (W.) 

A  lovely  work  is  his  Autumn  Landscape,  with 
a  view  of  the 

"  Chateau  de  Stein,  the  residence  of  Rubens,  near 
Mechlin,  showing  as  in  a  magic  mirror  the  beautiful  and 
fertile  scenery  of  Brabant  in  all  its  luxuriant  verdure, 
illumined  by  the  morning  sun.  All  that  art  could  effect 
by  means  of  single  trees  and  by  shadows  of  clouds,  to  pro- 
duce variety  in  an  extensive  level  surface,  is  done  here, 
while  the  execution  is  so  minute  that  singing  birds  are 


24  THE   NATIONAL   GALLERY 

seen  upon  the  trees:   the  landscape  is  also  enlivened  by 
numerous  figures  of  men  and  animals." — (W.) 

Of  the  many  equestrian  portraits  of  Charles  I. 
by  Van  Dyck,  the  one  in  this  gallery  is : 

"  A  courtier's  portrait  of  the  idol  of  the  cavaliers — a 
portrait  of  the  good  side  of  a  bad  king.  Notice  first  the 
prominence  given  to  the  noble  horse.  Then  in  Charles 
himself  note  the  stately  bearing,  the  personal  dignity,  the 
almost  feminine  refinement.  It  is  a  portrait  of  personal 
courage — with  no  suspicion  of  any  fatal  want  of  presence 
of  mind.  One  remembers  only,  in  looking  upon  this  pic- 
ture of  him,  Charles's  graces,  not  his  faults." — (E.  T.  C.) 

The  so-called  Portrait  of  Gevartius  has  often 
been  described  as  one  of  the  finest  portraits  in  the 
world.  Van  Dyck  used  to  consider  it  his  master- 
piece and  carried  it  about  with  him  from  court  to 
court  to  show  what  he  could  do. 

"  The  rather  simplified,  but  very  decidedly  rendered 
forms,  are  expressed  with  the  utmost  skill,  and  so  freely 
painted  that  the  spirited  touches  of  the  brush  may  be 
seen.  The  admirable  gradations  are  produced  in  a  full 
local  tint,  which  is  very  like  Rubens.  The  swimming 
moisture  of  the  eyes  is  wonderfully  given.  The  marking 
of  the  bones  and  the  modelling  give  the  picture  a  very 
energetic  effect,  resembling  sculpture." — (W.) 

Horses  is  also  very  spirited  and  was  probably 
inspired  by  the  horses  of  Achilles. 

Everyone  is  more  or  less  familiar  with  the  Old 
Woman  (1634),  aged  eighty-three,  the  most  fa- 
mous of  all  Rembrandt's  elderly  women. 

"  The  harmony  of  the  colour  is  only  to  be  equalled  by  its 
boldness;  on  close  inspection  of  the  luminous  flesh-tints 
we  are  amazed  at  the  audacity  of  the  tones,  the  touches  of 
pure  vermilion  on  lips  and  cheeks,  the  daring  brilliance  of 
high  lights  applied  with  unerring  assurance,  the  resonance 


LONDON  25 

of  colours  juxtaposed  without  fusion,  yet  melting  into 
harmony,  and  when  viewed  at  a  distance,  vibrating  in  uni- 
son."—(E.  M.) 

In  the  Portrait  of  a  Man  (No.  243),  the  head 
alone  is  in  full  light. 

"  The  most  conspicuous  colours  are  vivid  brown  and 
red.  The  features  with  the  gray  beard  and  moustache, 
though  heavily  painted,  are  well  defined,  and  look  almost 
as  if  chiselled  by  the  brush,  while  the  effect  is  enhanced  by 
the  greenish  tint  of  the  colouring.  The  face  and  the  dark 
eyes  in  particular,  are  full  of  animation." — (Vos.) 

The  Portrait  of  Himself  (1640)  is 

"  Strong  and  robust  with  powerful  head,  firm  and  com- 
pressed lips  and  determined  chin,  with  heavy  eyebrows, 
separated  by  a  deep  vertical  furrow,  and  with  eyes  of  keen 
penetrating  glance — altogether  a  self-reliant  man,  who 
would  carry  out  his  own  ideas,  careless  whether  his  popu- 
larity waxed  or  waned." — (J.  F.  W.) 

Another  Portrait  of  himself  painted  about 
thirty  years  later  depicts  the  painter  in  a  red- 
brown  coat  bordered  with  fur  and  a  cap. 

"  It  is  distinguished  from  other  portraits  of  Rembrandt 
by  being  in  full  light,  and  thus  enabling  him  to  display  the 
skilful  modelling  with  which  he  treated  the  truthful  and 
transparent  local  tones  of  the  flesh." — (W.) 

The  Woman  Taken  in  Adultery  is  another 
great  study  in  light  and  shade. 

"  Rembrandt  has  here  made  a  remarkable  use  of  his 
skill  as  a  colourist  in  rendering  the  subject  intelligible. 
The  eye  falls  at  once  upon  the  woman,  who  is  dressed  in 
white,  passes  then  to  the  figure  of  Christ,  which,  next  to 
her,  is  the  most  strongly  lighted,  and  so  on  to  Peter — to 
the  Pharisees — to  the  soldiers — till  at  length  it  perceives 
in  the  mysterious  gloom  of  the  Temple  the  High  Altar, 
with  the  worshippers  on  the  steps." — (W.) 


26  THE   NATIONAL   GALLERY 

Perhaps  a  greater  triumph  is  achieved  in  the 
Adoration  of  the  Shepherds. 

"  The  light  proceeding  from  the  Child  has  a  most  magi- 
cal and  warm  effect,  which  is  rendered  particularly  strik- 
ing by  the  dark  figure  of  a  shepherd  kneeling  in  the  fore- 
ground directly  against  the  brightest  light.  Compared 
with  the  divine  light,  that  in  the  lantern  of  one  of  the 
shepherds  is  hardly  perceptible.  The  arrangement  of  the 
eleven  figures  which  form  this  composition  displays  the 
greatest  skill.  The  main  stress  is  here  laid  on  the  action 
and  the  effect ;  the  handling  is  therefore  broad  and  sketchy, 
and  the  countenances  not  individually  made  out." — (W.) 

A  Woman  Wading  or  Bathing  (1654),  is  a 
study  of  Rembrandt's  servant,  Hendrickje  Stof- 
fels. 

"  The  young  woman,  whose  only  garment  is  a  chemise, 
stands  almost  facing  the  spectator  in  a  deep  pool.  Her 
attitude  suggests  a  sensation  of  pleasure  and  refreshment 
tempered  by  an  involuntary  shrinking  of  her  body  at  the 
first  contact  of  the  cold  water.  The  light  from  above 
glances  on  her  breast  and  forehead,  and  on  the  luxuriant 
disorder  of  her  bright  hair;  the  lower  part  of  her  face  and 
legs  are  in  deep  transparent  shadow.  The  brown  tones  of 
the  soil,  the  landscape  background  and  the  water,  the  purple 
and  gold  of  the  draperies  make  up  a  marvellous  setting 
alike  for  the  brilliantly  illuminated  contours  and  the  more 
subdued  carnations  of  the  model." — (E.  M.) 

A  fine  Portrait  by  Van  der  Heist  is  of  a  mem- 
ber of  the  Braganza  family,  wearing  a  superb 
blue  brocade  dress  and  pearl  necklace. 

Thomas  de  Keyser's  Merchant  and  his  Clerk 
shows  the  artist  at  his  best. 

"  The  merchant  has  his  globes  before  him :  he  was  one 
of  those  who  had  built  up  the  riches  of  his  country  by 
foreign  trade.  But  he  is  a  man  of  taste  as  well  as  of 
business  and  the  two  things  are  closely  united.  His  office 
is  itself  hung  with  rich  tapestry  and  amongst  the  imple- 


LONDON  27 

ments  of  his  trade,  his  plans  and  books  and  maps,  is  a 
guitar." — (E.  T.  C.) 


The  Peace  of  Munster  is  Ter  Borch's  most  im- 
portant work.  The  Spanish  ambassadors  and  the 
delegates  of  the  United  Provinces  are  represented 
in  an  old  hall  around  a  table  on  which  the  treaty  is 
laid  and  all  are  taking  their  oath  upon  the  terms 
agreed  upon. 

His  Guitar  Lesson,  though  not  so  important,  is 
a  piece  of  exquisite  painting.  Here  occurs  one  of 
the  painter's  famous  white  satin  skirts,  worn  by  the 
young  lady  who  is  playing  upon  a  lute.  Her  yellow 
velvet  jacket  trimmed  with  ermine  is  also  a  marvel 
of  technical  skill.  The  master  is  beating  time  and 
singing,  and  another  man  is  listening.  The  room 
is  beautifully  furnished.  The  favourite  pet  of  the 
day,  a  spaniel,  is  present.  A  spaniel  also  appears 
in  Metsu's  Duet  where  a  woman  is  about  to  sing, 
and  a  man  is  tuning  his  violin : 

"  This  picture  has  all  the  excellences  of  the  master,  who 
is  distinguished  above  all  of  this  class  by  a  more  spirited 
and  freer  handling,  greater  truth  of  nature  and  better 
drawing.  It  is  besides  painted  in  the  warm,  full  tone 
which  is  especially  valuable  in  his  pictures." — (W.) 

Turn  now  to  Jan  Steen's  Music  Master,  a  tiny 
picture  of  about  a  foot  square,  of  delicate  execution 
and  fresh  colour. 

"  A  young  girl  in  a  yellow  stomacher  and  blue  dress 
sitting  at  the  harpsichord ;  her  whole  soul  seemingly  in  the 
music,  on  which  the  master  is  making  some  observation ; 
behind  is  a  boy  with  a  lute." — (W.) 

The  works  of  Nicholas  Maes  here,  The  Cradle, 


28  THE   NATIONAL    GALLERY 

the  Dutch  Housewife,  the  Idle  Servant  and  the 
Card  Players,  are  all  masterpieces. 

"  The  Cradle  is  an  excellent  specimen  of  warm  harmony 
of  tone.  The  flesh  tones  vie  with  the  red  carpet  in  glow 
of  colour.  The  execution  is  very  solid." — (W.) 

"  There  are  few  pictures  in  the  National  Gallery  before 
which  I  find  myself  more  often  standing  than  at  this.  The 
Dutch  Housewife  sits  intently  engaged  in  scraping  a  pars- 
nip, whilst  the  child  stands  by  her  side  watching  the  process 
as  children  will  stand  and  watch  the  most  ordinary  opera- 
tions, with  an  intensity  of  interest,  as  if  the  very  existence 
of  the  whole  world  depended  on  the  exact  manner  in  which 
that  parsnip  was  scraped." — (C.  R.  L.) 

The  Idle  Servant-Maid  is  a  humorous  story  in 
paint. 

"  A  girl  is  looking  out  laughingly  at  the  spectator,  draw- 
ing his  attention  to  a  cookmaid,  who  is  sitting  sleeping, 
surrounded  by  her  scattered  utensils.  A  cat  is  about  to 
steal  a  duck  ready  for  the  spit.  Behind  in  chiaroscuro  are 
the  family  at  table.  This  picture  is  on.e  of  the  chefs 
d'ccuvre  of  the  master,  who,  for  warmth  of  tone  and  ex- 
cellent impasto,  is  worthy  to  be  called  the  Cuyp  of  genre- 
painters. —  (W.) 

The  Card  Players  is  so  fine  that  it  has  been  at- 
tributed to  Rembrandt,  and  Fabritius.  A  young 
man  and  woman  are  seated  at  a  table  playing  cards. 
It  is  the  woman's  turn  to  play.  The  man  wears  a 
black  furred  cloak  covering  a  grey  and  silver  doub- 
let, and  the  girl  is  dressed  in  red  with  slashed 
sleeves.  The  figures  are  life  size,  which  is  unusual 
for  Maes. 

Pieter  de  Hooch  has  three  splendid  works : 

A  Dutch  Courtyard ;  Court  of  a  Dutch  House ; 
and  a  Dutch  Interior. 

The  first  in  its  neatness  and  cheerful  colour  re- 
flects the  happy  Dutch  home;  in  the  Dutch  In- 


LONDON  29 

terior  two  men  are  seated  at  a  table;  and  the 
Court  of  a  Dutch  House  represents  a  courtyard  in 
Delft,  where  the  wife  stands  in  the  porch  under 
the  vine  leaves  to  await  the  husband's  return 
while  a  servant  is  bringing  the  child  to  complete 
the  happy  group. 

Three  charming  works  by  Netcher  demand  at- 
tention, all  being  of  the  first  order,  and  the  treat- 
ing of  children  in  which  he  was  particularly  suc- 
cessful. Maternal  Instruction  depicts  a  girl  be- 
ing taught  to  read  while  another  plays  with  the  dog. 
Another  picture  represents  two  boys  blowing  bub- 
bles ;  and  the  third,  a  pretty  girl,  in  white  satin 
dress  and  fur-trimmed  jacket,  meditating  by  her 
spinning-wheel. 

Wouvermans's  Interior  of  a  Stable  is  one  of 
his  finest  works;  a  Battle,  remarkable  for  trans- 
parency and  careful  detail.  La  Belle  Laitiere 
depicts  an  officer  who  has  alighted  in  front  of  a 
sutler's  booth  and  is  caressing  the  attractive  milk- 
maid, unmindful  of  the  companion  on  horseback 
and  a  trumpeter: 

"  This  picture  combines  that  delicate  tone  of  his  second 
period  with  the  great  force  which  he  adopted  especially 
towards  the  end  of  it.  The  effect  of  the  dark  figures  re- 
lieved against  the  landscape  is  extraordinary." — (W.) 

Paul  Potter  is  at  his  best  in  a  Landscape  and 
Cattle. 

"  Under  a  group  of  trees  are  seen  on  one  side  four  cows, 
a  sheep  and  a  horse,  with  a  peasant ;  on  the  opposite  side 
two  other  men  unloading  a  cart,  and  eleven  sheep.  Other 
cattle  are  dispersed  on  a  meadow  in  the  background.  The 
evening  sun  uniting  glowing  lights  with  deep  shadows, 
heightens  the  effect  of  this  picturesquely  arranged  piece, 
which  combines  the  master's  plastic  precision  of  forms 


30  THE   NATIONAL   GALLERY 

with  softness,  his  solid  impasto  with  great  warmth  and 
clearness  of  colouring,  and  is,  therefore,  one  of  his  choicest 
specimens." — (W.) 

Cuyp's  Horseman  and  Cows  in  a  Meadow  is 

also  a  masterpiece.  The  landscape  is  in  bright 
warm  morning  light ;  two  cows  lie  in  the  fore- 
ground, and  a  woman  is  talking  with  a  horseman, 
while  around  her  are  a  flock  of  sheep  and  three 
dogs.  The  bright  golden  tones  are  reflected  in  the 
river. 

On  the  Meuse  is  charming  with  its  reflections 
in  the  water;  and  the  beautiful  Ruined  Castle  in 
a  Lake  depicts 

"  an  old  castle  with  towers,  gilded  by  the  most  glowing 
evening  sun  reflected  in  the  clear  water  by  which  it  is  sur- 
rounded. In  the  background,  misty  mountains ;  in  the  fore- 
ground, in  happy  contrast,  a  horseman  on  a  black  horse, 
and  some  sheep.  Few  pictures  excite  in  so  high  a  degree 
the  poetical  feeling  of  the  silence  of  a  fine  summer  evening, 
with  the  melancholy  sense  of  a  time  long  past." — (W.) 

Many  of  the  best  pictures  by  William  Van  de 
Velde  hang  here. 

"  Of  his  calm  seas  Nos.  149,  870,  871  and  874  are  most 
charming  for  delicacy  of  finish  and  tenderness  of  tone. 
Breezy  seas  are  admirably  represented  in  872,  873  and  875. 
Gales  of  wonderful  skill  and  truth  are  Nos.  150  and  876." 
-(C.) 

In  one  work  he  had  the  help  of  his  brother. 

"  The  coast  of  Scheveningen,  with  the  sea  gently  agitated 
in  the  evening  light.  The  numerous  figures  are  by  Adriaen 
Van  de  Velde.  The  union  of  these  two  great  masters 
makes  this  one  of  the  most  charming  pictures  of  the  Dutch 
school."— (W.) 

A    Winter    Landscape,    by    Adriaen    Van    de 


LONDON  31 

Velde,  shows  a  frozen  canal  with  numerous  fig- 
ures skating  and  sleighing.  It  is 

"  admirably  drawn,  touched  with  great  spirit,  and  of  a 
very  pleasing,  though  for  the  subject  perhaps  too  warm  a 
tone."— (W.) 

The  Ford  is  also  a  fine  work  of  this  painter's 
middle  period.  It  represents  a  herdsman  and  wo- 
man with  their  cattle  crossing  a  ford. 

"  The  composition  very  tasteful  and  the  contrast  be- 
tween the  concentrated  mass  of  light  and  the  clear  half 
shadow,  which  is  repeated  in  soft  broken  tones  upon  the 
horizon,  is  very  attractive.  The  colouring  is  warm  and  the 
execution  highly  finished  without  being  smooth." — (W.) 

Adriaen  Van  de  Velde  also  contributed  the  fig- 
ures to  the  beautiful  Landscape  by  Philip  de  Ko- 
ninck. 

Adriaen  van  Ostade's  Alchymist  is  one  of  his 
best  productions. 

"  An  Alchymist  surrounded  with  various  instruments, 
blowing  the  fire  under  a  crucible.  His  family,  meantime, 
do  not  appear  to  be  very  well  off.  A  boy  on  the  ground  is 
eating  a  piece  of  bread ;  a  little  girl  is  seeking  something 
to  devour;  the  mother,  who  in  the  original  state  of  the 
picture  was  washing  a  child,  is  now  looking  into  a  basket. 
If  Teniers  is  the  greatest  master  in  silvery  tones  and  cold 
colours,  Adriaen  Ostade  is  the  same  in  golden  tones  and 
in  the  scale  of  warm  colours.  As  such  he  proves  himself 
in  this  picture,  which  is  one  of  the  most  perfect  that  he 
ever  painted.  The  effect  of  light  in  the  foreground  is 
striking,  the  predominant  golden  tone  of  extraordinary 
brightness  and  clearness,  the  execution  equally  careful  and 
spirited,  and  the  contrast  of  the  deep,  chiaroscuro  in 
the  background  has  a  peculiar  charm." — (W.) 

Isaac  van  Ostade's  Village  Scene  in  Holland 
is  a  perfect  picture  of  its  kind. 

"  A  man  on  a  grey  horse  riding  past  a  house  followed 


32  THE   NATIONAL   GALLERY 

by  two  dogs,  one  of  which  is  caressed  by  a  boy.  On  the 
other  side  of  the  picture  are  two  pigs;  in  the  very  pic- 
turesquely arranged  middle  distance  are  peasants  and  cat- 
tle. This  delicately  drawn  picture  combines  the  greatest 
solidity  with  the  most  spirited  execution,  and  the  finest  5m- 
pasto  with  the  greatest  glow  and  depth  of  tone." — (Wf) 

A  Canal  Scene  in  Winter  is  vivid  with  toil  and 
pleasure. 

"  The  great  truth,  admirable  treatment,  and  fresh  feeling 
of  a  winter's  day,  expressed  in  this  piece  render  it  one  of 
the  chefs  d'oeuvre  of  the  master." — (W.) 

Gerard  Dow's  best  work  here  has  for  its  subject 
an  old  woman  at  an  open  window  chaffering  with  a 
girl  over  a  hare;  two  other  persons  and  a  variety 
of  accessories. 

"  One  of  the  most  pleasing  works  of  the  master ;  for, 
besides  the  extreme  finish  in  which  he  holds  the  first  place, 
it  surpasses  many  of  his  other  pictures  in  its  unusual 
clearness  and  in  the  agreeable  and  spirited  heads." — (W.) 

The  gallery  is  particularly  rich  in  the  works  of 
Hobbema.  Here  we  find  a  Forest  Scene,  with  a 
piece  of  water  in  the  foreground ;  a  Water-Mill 
on  a  broad  stream,  covered  with  plants  and  ani- 
mated by  ducks,  and  several  cottages  among  the 
trees;  the  Ruins  of  the  Castle  of  Brederode, 
strongly  lighted  by  a  sunbeam  and  reflected  in  the 
dark  water;  and  the  Avenue  of  Middelharnais, 
which  is  described  as  follows: 

"  Some  small  and  slender  trees,  branchless  almost  to 
their  tops,  border  the  two  sides  of  a  road,  which  occupies 
the  centre  of  the  picture,  and  extend  all  the  way  to  a  vil- 
lage which  closes  the  horizon  with  several  masts  and  hulls 
of  ships  in  profile  against  a  sky  where  the  sun  is  veiled ;  to 
the  right,  a  nursery-garden  of  shrubs  and  rose-trees  separ- 
ated from  the  road  by  a  wide  ditch  full  of  water ;  then,  in 
the  middle  distance,  the  buildings  of  a  farm;  to  the  left, 


THE  AMBASSADORS—  Holbein 

NATIONAL   GALLERY 


ANGELS'  HEADS— Sir  Joshua  Reynolds 

NATIONAL   GALLEKY 


LONDON  33 

a  clump  of  trees  and  another  ditch,  and  further  back  the 
spire  of  a  church;  a  huntsman,  with  a  gun  on  his  shoulder 
and  preceded  by  his  dog,  is  walking  on  the  road,  and  two 
peasants — a  man  and  a  woman — have  stopped  to  chat  on 
the  path  that  leads  across  to  the  farm ;  a  horticulturist  is 
grafting  the  shrubs  in  the  nursery-garden;  and  this  corner 
of  a  landscape  has  sufficed  for  Hobbema  to  produce  a 
masterpiece. 

"  What  is  most  admired  in  this  picture?  Is  it  the  firm- 
ness of  touch,  the  brilliancy  of  the  key,  the  ease  and  breadth 
of  execution  without  the  slightest  sign  of  hesitation  or  al- 
teration, or  the  extraordinary  perfection  with  which  the 
perspective  is  rendered?  We  do  not  know.  Despite  the 
complexity  of  the  subject,  the  general  effect  of  the  picture 
is  simple  and  powerful,  and  the  gradation  of  colour  har- 
monious and  correct.  It  would  be  impossible  to  go  any 
farther  than  this  artist  has  done  in  the  interpretation  of 
this  tranquil  Dutch  landscape.  The  deep  values  of  the 
trees,  the  yellowish  greys  of  the  road,  and  the  sluggish 
water  of  the  ditches,  together  with  the  blue  sky  flecked 
with  little  grey  and  white  clouds,  produce  an  ensemble  of 
absolute  calm.  The  little  figures  which  give  life  to  this 
canvas  are  so  fine  and  delicate  in  execution  that  they  leave 
nothing  to  be  desired.  Here,  as  very  rarely  happens,  the 
multiplication  of  details  does  not  spoil  the  effect  of  the 
whole.  This  is  a  picture  absolutely  without  a  peer,  and  a 
page  by  itself  in  Hobbema's  work." — (P.  L.) 

Vase  of  Flowers,  by  Jan  Van  Huysum,  contain- 
ing peonies,  iris,  hyacinths,  narcissus,  carnations, 
polyanthus,  roses,  convolvulus,  apple-blossoms 
and  other  flowers  and  fruits,  is  a  beautiful  pic- 
ture. Hollyhocks  and  Other  Flowers  is  also  a 
work  of  great  beauty. 

Velasquez  appears  in  works  of  varied  subject. 
First  come  two  portraits  of  Philip  IV.  of  Spain, 
one  representing  him  in  middle  age,  and  the  other 
younger,  and  with  the  Order  of  the  Golden  Fleece 
around  his  neck. 

"  The  smaller  picture  might  be  called  in  the  art-slang  of 


34  THE   NATIONAL   GALLERY 

to-day  'a  harmony  in  black-and-gold ' ;  this,  from  the 
shimmer  on  its  lace  and  the  flashing  on  the  rapier-hilt  '  a 
harmony  in  black  and  silver.'  " — (E.  T.  C.) 

Here,  too,  is  Admiral  Pulido  Pareja  so  life- 
like that  it  is  said  that  the  King  who  had  or- 
dered him  to  sea,  on  entering  Velasquez's  studio  and 
seeing  this  portrait  exclaimed :  "  What !  still 
here !  "  thinking  it  was  the  Admiral  himself. 

The  Wild  Boar  Hunt  is  doubly  interesting  for 
its  splendid  execution  and  its  reproduction  of  a 
court  pastime.  The  hunting-party  is  in  a  royal  en- 
closure, with  the  huntsmen  and  followers  and  car- 
riages for  the  ladies.  The  two  dogs  in  the  left- 
hand  corner  are  marvellously  depicted. 

The  Adoration  of  the  Shepherds,  an  early 
work,  shows  the  influence  of  Ribera  and  Cara- 
vaggio. 

"  In  the  distance  is  the  guiding  angel  as  the  star  of  the 
Epiphany ;  but  there  is  little  adoration  in  the  rough  peasant 
group.  It  is,  however,  a  pretty  piece  of  observation  of 
child  nature  that  makes  Velasquez  paint  the  boy  offering 
his  animals  to  the  infant  Christ."— (E.  T.  C.) 

More  famous  is  Christ  at  the  Column. 

"  An  intensely  dramatic  rendering  of  the  central  lesson 
of  Christianity.  The  absence  of  all  decorative  accessories 
concentrates  the  attention  at  once  on  the  figure  of  the 
Divine  sufferer — bound  by  the  wrists  to  the  column.  His 
hands  are  swollen  and  blackened  by  the  cords;  the  blood 
has  trickled  down  the  shoulder,  and  the  scourges  and  rod 
have  been  flung  contemptuously  at  his  feet.  Yet  abnega- 
tion of  self  and  Divine  compassion  are  stamped  indelibly 
on  his  countenance,  as  he  turns  his  head  to  the  child  who 
is  kneeling  in  adoration.  The  guardian  angel  behind  bids 
the  child  approach  the  Redeemer  in  prayer  (hence  the 
alternative  title  that  has  been  given  to  the  picture,  The 
Institution  of  Prayer)."— (E.  T.  C.) 


LONDON  35 

In  this  gallery  Murillo  is  strong  in  quality  though 
weak  in  numbers.  St.  John  and  the  Lamb  is  a 
tender  idyl.  The  Holy  Family  is  a  late  work  in 
the  master's  vaporoso  manner.  The  Spanish 
Peasant  Boy  is  a  youthful  Bacchus  of  the  soil. 

One  entire  room  is  chiefly  devoted  to  the  land- 
scapes of  Claude  Lorrain  and  the  two  Poussins.  It 
is  interesting  to  note  that  Turner  left  the  Sun  Ris- 
ing in  a  Mist  and  Dido  Building  Carthage  to 
the  British  nation  on  condition  that  they  should 
hang  side  by  side  with  Claude's  Isaac  and  Re- 
becca and  the  Embarkation  of  the  Queen  of 
Sheba.  The  former  is  a  version  of  the  Mill  in  the 
Doria  Palace  in  Rome.  Like  all  of  Claude's  works, 
the  subjects  and  figures  are  subordinate  to  the  land- 
scape. The  Queen  of  Sheba,  starting  on  her 
journey  in  the  early  morning,  is  considered  one  of 
Claude's  masterpieces.  The  Embarkation  of  St. 
Ursula  also  forms  an  excuse  for  an  ideal  sea-port ; 
its  quiet  sky  is  greatly  admired  by  critics. 

The  Classical  Landscape  and  David  at  the 
Cave  of  Adullam  also  exhibit  the  characteristics 
of  this  painter. 

"  Claude  had  a  fine  feeling  for  beauty  of  form,  and  is 
seldom  ungraceful  in  his  foliage.  His  tenderness  of  con- 
ception is  especially  shown  in  delicate  aerial  effects,  such 
as  no  one  had  ever  rendered  before,  and  in  some  respects, 
no  one  has  ever  done  in  oil  colour  since.  Thus  a  perfectly 
genuine  and  untouched  sky  of  .Claude  is  beyond  praise  in 
all  qualities  of  air.  But  he  was  incapable  of  rendering 
great  effects  of  space  and  infinity.  As  with  his  skies,  so 
too  with  his  seas.  They  are  the  finest  pieces  of  water 
painting  in  ancient  art.  But  they  are  selections  of  the  par- 
ticular moment  when  the  sea  is  most  insipid,  and  char- 
acterless."— (J.  R.) 

Nicholas  Poussin's  Bacchanalian  Festival  pre- 


36  THE   NATIONAL    GALLERY 

sents  all  the  wild  ecstasy  of  man,  maidens,  gods 
and  mortals,  in  the  Vales  of  Arcady. 

"  His  best  works  are  his  Bacchanalian  revels,  always 
brightly  wanton,  full  of  frisk  and  fire;  but  they  are  coarser 
than  Titian's  and  infinitely  less  beautiful." — (R.) 

Caspar  Poussin's  Calling  of  Abraham,  in  which 
a  somewhat  grotesque  angel  accosts  Abraham  and 
points  to  God  seated  in  the  clouds,  is  notable  for  its 
vast  space  of  sky  stretching  far  away  into  the  yel- 
low horizon.  Some  critics  consider  his  Sacrifice 
of  Isaac  a  still  better  picture.  Here  Abraham  and 
Isaac  are  ascending  the  hill,  the  former  carrying  a 
lighted  torch  and  the  latter  the  wood,  while  the 
servants  await  Abraham's  return. 

"  The  whole  spirit  of  the  picture  is  solemn  and  un- 
broken in  perfect  harmony  with  the  subject." — (E.  T.  C.) 

Of  several  by  Greuze  The  Head  of  a  Girl,  look- 
ing up,  and  Girl  with  an  Apple;  and  Sophie 
Arnould,  are  the  most  famous  examples. 

"  In  the  portrait  of  Mile.  Sophie  Arnould,  there  is,  no 
doubt,  a  touch  of  the  poseuse — there  is  the  affectation  of 
the  pretty  woman,  who,  with  all  her  consummate  wit  and 
self-command,  could  not  quite  lose  her  self-consciousness 
when  standing  before  the  easel  of  the  painter.  Greuze 
shows  her  for  what  she  is.  The  jaunty  pose  of  the  hat,  the 
quiet  confidence  of  the  sitter,  the  grace,  half-studied,  half- 
natural,  the  lack  of  '  that,'  as  the  French  say,  which  gives 
the  perfect  grace  of  the  well-bred  woman,  all  proclaim  the 
attributes  of  the  actress  who  sprang  into  the  dazzling  light 
of  the  joyous  world  in  Eighteenth  Century  France,  and 
fizzled  out  at  the  end  of  it."— (M.  H.  S.) 

The  Ambassadors  is  the  most  important  of  all 
Holbein's  existing  portraits. 

"  In  charm  it  may  yield  to  the  Darmstadt  Madonna  or  to 
the  Duchess  of  Milan,  in  perfection  of  artistic  unity  to  such 


LONDON  37 

things  as  the  Moretie  at  Dresden,  the  Gisze  at  Berlin,  or 
even  the  Duke  of  Norfolk  at  Windsor;  but  in  colour  and 
in  that  extraordinary  instinct  which  enabled  Holbein  to 
give  his  work  a  look  of  subordination  when  in  fact  it  has 
none,  it  yields  to  nothing  he  ever  did. 

"  Of  the  two  '  Ambassadors,'  one  is  vastly  more  impor- 
tant than  the  other.  His  costume  of  crimson  silk,  white 
fur,  and  some  black  stuff,  makes  a  brave  show,  and  over- 
whelms the  modest  richness  of  the  younger  man's  robe  of 
greenish-brown  brocade.  The  accessories  arranged  on  his 
left  include  a  terrestrial  and  a  celestial  globe,  and  various 
instruments  used  in  astronomy.  The  younger  man  wears 
a  doctor's  cap,  but  the  rest  of  his  costume  does  not  seem 
to  belong  to  any  particular  office  or  degree.  The  attributes 
of  this  second  figure  seem  to  proclaim  him  a  musician.  A 
lute,  a  joined  flute,  an  open  book  with  the  words  and 
music  of  a  popular  German  chorale,  lie  upon  the  lower 
shelf  of  the  what-not.  Low  down,  behind  the  principal 
figure,  appears  the  inscription  '  JOANNES  HOLBEIN,  PINGE- 
BAT,  1533.'  The  background  is  a  curtain  of  green  silk 
brocade.  With  the  deep  blue-green  of  the  celestial  globe 
and  the  crimson  sleeve  beside  it,  it  makes  up  the  finest 
colour  passage  in  the  picture." — (W.  A.) 

Hogarth's    series,    The    Marriage    A-la-Mode, 

deserves  earnest  study  for  the  beautiful  colours, 
the  fine  composition  and  the  wealth  of  detail  in 
each  picture  so  finely  subordinated  to  the  episodes 
and  characters. 

"  The  plot,  like  that  of  all  masterpieces,  is  extremely 
simple.  An  impoverished  nobleman  who  marries  his  son 
to  a  rich  citizen's  daughter ;  a  husband  who,  pursuing  his 
own  equivocal  pleasures,  resigns  his  wife  to  the  tempta- 
tions of  opportunity ;  a  foregone  sequel  and  a  tragic  issue : 
— this  material  is  of  the  oldest,  and  could  make  but  slen- 
der claim  to  originality.  Submitted  to  Colman  or  Garrick 
as  the  scenario  of  a  play  for  Yates  and  Mrs.  Woffington, 
it  would  probably  have  been  rejected  as  pitifully  thread- 
bare. Yet  combined  and  developed  under  the  brush  of 
Hogarth,  set  in  an  atmosphere  that  makes  it  as  vivid  as 
nature  itself,  decorated  with  surprising  fidelity,  and  en- 
livened by  all  the  resources  of  the  keenest  humour,  it 


38  THE   NATIONAL   GALLERY 

passes  out  of  the  line  of  mere  transcripts  of  life,  and,  re- 
taining the  merits  of  the  specific  and  particular,  becomes  a 
representative  and  typical  work,  as  articulate  to-day,  as 
direct  and  unhesitating  in  its  teaching,  as  it  was  when  it 
was  first  offered  to  the  world.  These  paintings  of  William 
Hogarth  are  well-nigh  as  fresh  to-day  as  when,  new  from 
the  easel,  they  found  their  fortunate  purchaser  in  Mr. 
Lane  of  Hillingdon.  They  are  soundly,  straightforwardly, 
and  skilfully  executed.  Everywhere  the  desired  effect  is 
exactly  produced  and  without  effect." — (A.  D.) 

Lavinia  Fenton  appears  as  Polly  Peachum  in 
the  Beggar's  Opera. 

"  Her  dress  is  green,  with  shoulder-bands  and  facings 
of  brownish  red.  She  has  dark  sparkling  eyes  and  red  lips ; 
but  a  certain  want  of  regularity  in  her  features  suggests 
that  her  charm  must  have  been  chiefly  in  her  voice  and  ex- 
pression."—  (A.  D.) 

Hogarth's  wife  was  the  model  for  Sigismonda, 
who  is  about  to  poison  herself,  having  received  her 
lover's  heart. 

The  lovely  Angels'  Heads  belongs  to  the  close 
of  Sir  Joshua's  life.  The  artist  was  commissioned 
by  Lord  William  Gordon  to  paint  a  portrait  of  his 
little  daughter,  Isabella. 

Reynolds  began  his  studies,  and 

"  from  the  fresh  face  of  Isabella  Gordon,  he  successively 
made  five  studies,  one  representing  the  little  girl  full  face, 
and  the  others  showing  her  in  profile  and  three-quarters 
full.  Having  thus  obtained  five  similar  heads,  for  they 
reproduced  the  same  type,  though  slightly  differing  in  ac- 
cordance with  the  altered  position  of  the  model  and  the 
direction  of  the  light,  he  added  a  portion  of  wing  here  and 
there,  and  introduced  appropriate  light  and  vaporous 
clouds  here  and  there,  and  gathered  these  heads  into  a 
bouquet,  like  an  angelical  group  worthy  of  figuring  in  an 
Assumption,  and  to  mount  into  the  skies  in  the  train  of 
the  triumphant  Virgin. 


XONDON  39 

"In  the  Angels'  Heads,  Reynolds"  no  longer  thinks  of 
imitating  the  Old  Masters;  he  is  entirely  under  the  influ- 
ence of  the  artists  of  his  own  time,  and  the  good  workers 
of  the  reign  of  Louis  XVI.,  who,  like  Fragonard  in  his 
lively  sketches,  sought  lightness  of  touch  above  every- 
thing else.  There  is  no  heavy  pigment  nor  useless  layers, 
but  everywhere  a  flowery  freshness  and  spontaneous  suavity 
in  this  picture  that  seems  to  be  composed  only  of  the  deli- 
cate petals  of  a  flower." — (P.  M.) 

Among  the  portraits  of  children,  the  Infant 
Samuel,  the  model  for  which  was  a  little  orphan 
boy  that  Sir  Joshua  found  in  the  streets,  and  The 
Age  of  Innocence  are  deserving  of  their  great 
popularity. 

"  The  landscape  in  the  distance  of  The  Age  of  Innocence 
is  as  thoroughly  in  keeping  with  the  subject  as  it  can  be: 
thus  here  are  fields  easy  to  traverse,  a  few  village  elms, 
and  just  seen  above  their  tops  the  summits  of  habitations, 
— the  hint  is  thus  given  that  the  child,  all  innocent  as  she 
is,  has  not  gone  far  from  home,  or  out  of  sight  of  the 
household  to  which  she  belongs." — (F.  G.  S.) 

Robinette,  with  her  arch  face  and  pet  bird,  is  a 
fancy  portrait  of  the  Hon.  Mrs.  Tollemache,  and 
the  Graces  Decorating  a  Statue  of  Hymen  are 
fanciful  portraits  of  the  daughters  of  Sir  William 
Montgomery. 

""  If  you  examine  the  picture  of  the  Graces  you  will 
find  it  reverses  all  the  ordinary  ideas  of  expedient  treat- 
ment. By  other  men  flesh  is  firmly  painted,  but  accessories 
lightly.  Sir  Joshua  paints  accessories  firmly,  flesh  lightly; 
— nay,  flesh  not  at  all,  but  spirit.  The  wreath  of  flowers 
lie  feels  to  be  material ;  and  gleam  by  gleam  strikes  fear- 
lessly the  silver  and  violet  leaves  out  of  the  darkness.  But 
the  three  maidens  are  less  substantial  than  rose  petals.  No 
flushed  nor  frosted  tissue  that  ever  faded  in  the  night- 
wind  is  so  tender  as  they;  no  hue  may  reach,  no  line 
measure,  what  is  in  them  so  tender  and  so  fair." — (R.) 


40  THE   NATIONAL   GALLERY 

The  Portrait  of  Lord  Ligonier,  on  his  pranc- 
ing horse,  also,  is  one  of  Sir  Joshua's  most  famous 
productions.  He  used  to  say  that  the  effect 
which  pleased  him  most  in  all  his  pictures  was  that 
shown  in  Lord  Ligonier,  the  chiaroscuro  of  which 
he  found  suggested  in  a  rude  wood-cut  upon  a 
half-penny  ballad. 

Lady  Albemarle  and  Her  Two  Daughters  is 
another  of  his  most  graceful  works. 

The  most  famous  Gainsborough  in  the  gallery  is 
the  portrait  of  Mrs.  Siddons. 

"  According  to  the  opinion  of  Leslie  and  Tom  Taylor, 
biographers  of  the  painter  of  the  Tragic  Muse,  Reynolds 
was  outdistanced  by  Gainsborough  in  the  interpretation  of 
Mrs.  Siddons's  features.  With  the  former,  the  model  and 
the  pose  are  apparent;  with  the  second,  nature  is  not  on 
her  guard,  and  allows  herself  to  be  surprised.  Mrs.  Sid- 
dons  was  twenty-nine  when  Gainsborough  obtained  per- 
mission to  paint  her  portrait.  She  is  in  street  costume, 
sitting,  at  half-length,  and  seen  nearly  in  profile;  a  dress 
of  blue  and  white  stripes,  a  shawl  with  golden  reflections 
envelops  the  slender  body  of  this  young  woman ;  and  a 
black  hat,  surmounted  with  a  feather  of  the  same  colour, 
is  placed  on  the  head  and  brings  out  the  dead  whiteness 
of  the  face ;  the  eye,  with  its  penetrating  expression,  looks 
into  space  and  seems  disdainful  of  the  spectator's  admira- 
tion. The  resolution,  the  character  and  also  the  great 
tranquillity  of  the  soul,  and  a  self-possession  that  nothing 
can  disturb  distinguishes  this  severe  and  quiet  image. 
Visitors  to  the  National  Gallery  remain  spellbound  by  the 
facility  that  the  painter  has  shown  in  this  picture." — 
(H.  J.) 

The  Family  Group  (the  Baillies  of  Ealing 
Grove)  was  considered  by  Ruskin  the  best  Gains- 
borough in  England. 

"  His  hand  is  as  light  as  the  sweep  of  a  cloud,  as  swift 
as  the  flash  of  a  sunbeam.  His  forms  are  grand,  simple, 


MRS.  SIDDONS— Gainsborough 

NATIONAL    GALLERY 


HOGARTH'S  PORTRAIT  OF  HIMSELF 

NATIONAL  GALLEHY 


LONDON  41 

ideal.     He  never  loses  sight  of  his  picture  as  a  whole.     In 
a  word,  Gainsborough  is  an  immortal  painter." — (R.) 

Musidora  Bathing  Her  Feet  is  the  only  nude 
figure  that  Gainsborough  ever  painted.  It  illus- 
trates the  line  from  Thomson's  Summer: 

"  This  cool  retreat  his  Musidora  sought." 

Gainsborough  painted  portraits  for  money,  and 
landscapes  because  he  loved  them,  and  the  Suffolk 
woods  always  seemed  to  him  the  most  beautiful  in 
the  world.  His  scenes  are  simple:  market-carts, 
horses  in  the  fields,  woodcutters  going  home  to  sup- 
per, girls  with  pigs  and  other  rustic  figures  are  his 
limited  subjects.  We  find  here  several  versions  of 
a  Watering  Place.  Other  rural  scenes  are  Gains- 
borough's Forest,  with  a  view  of  a  church  through 
the  trees;  Country  Children;  and  the  Market 
Cart. 

Turning  now  to  Constable's  works,  we  find 
the  House  in  which  the  Artist  was  Born;  the 
Cornfield;  The  Hay  Wain;  the  Valley  Farm; 
View  on  Hamstead  Heath ;  The  Salt-Box ;  Ham- 
stead  Heath;  Bridge  at  Gillingham,  Suffolk;  and 
Flatford  Mill,  all  are  characteristic  pictures  of 
scenes  familiar  to  the  painter  from  boyhood. 

"  Gentle  declivities,  luxuriant  meadow-flats  sprinkled 
with  flocks  and  herds,  well-cultivated  uplands  with  nu- 
merous scattered  villages  and  churches,  with  farms  and 
picturesque  cottages,"  Constable  said  made  him  a  painter. 
He  particularly  loved  to  paint  spring  and  early  summer, 
and  thought  the  landscape  painter  should  walk  in  the  fields 
with  a*n  humble  mind. 

John,  called  "  Old  Crome,"  who  painted  chiefly 
the  scenery  around  his  native  Norwich,  can  be 


42 

studied  here  with  advantage  in  Welsh  Slate 
Quarries,  a  picture  of  desolate  hills,  where  men 
are  working;  The  Windmill;  and  Household 
Heath  near  Norwich: 

"  A  work  the  simplicity  of  which  is  so  great  that  only  a 
master  could  have  imparted  to  it  any  character.  It  repre- 
sents a  vast  slope  of  pale  verdure,  which,  from  a  fore- 
ground covered  with  flowering  grass  and  heath,  rises 
rapidly  towards  the  sky.  Great  golden  clouds  float  on  the 
summit  of  the  hill.  There  is  nothing  more.  With  sc  little 
subject  as  this,  Crome  has  yet  given  the  truest  representa- 
tion of  solitude  and  stillness." — (Ch.) 

A  curious  work  by  the  imaginative  William 
Blake  is  the  Spiritual  Form  of  Pitt  Guiding 
Behemoth,  an  allegory  of  the  power  of  statesman- 
ship (Pitt)  in  controlling  the  brute  forces  of  the 
world  (Behemoth)  . 

'•*  The  earth  bursts  into  flame  at  the  touch  of  the  plough- 
share, and  from  behind  the  flames  cannons  are  discharged 
upon  a  group  of  flying  figures,  at  the  back  of  which  is 
seen  a  great  building  on  fire.  Beneath  the  figure  of  the 
reaper  another  group  is  being  shot  down  by  musketry, 
while  a  terrible  rain,  lit  up  as  by  lightning,  falls  from 
heavy  clouds." — (Wm.  B.) 

George  Morland's  Inside  of  a  Stable,  said  to 
be  the  White  Lion  at  Paddington,  is  sometimes 
called  the  artist's  masterpiece . 

"He  was  the  painter  of  all  English  rural  life  on  its 
homeliest,  commonest  side — bearing  memories  of  it, 
strangely  rich  and  keen  and  sympathetic,  into  the  London 
Streets,  and  across  the  foul  nights  of  tavern  and  sponging- 
house.  An  animal  painter,  in  the  strict  sense,  he  certainly 
was  not.  The  importance  of  animals  in  his  work  has  been 
habitually  exaggerated." — (F.  W.) 

•  Landseer  appears   in  many  of  his  best  works. 


LONDON  43 

One  is  a  Newfoundland  dog,  named  Paul  Pry,  re- 
clining on  the  last  stone  of  a  quay  while  the  sum- 
mer waves  lap  upon  the  sea-wall;  Dignity  and 
Impudence  is  another,  in  which  a  bloodhound  and 
a  little  Scotch  terrier  are  contrasted;  Alexander 
and  Diogenes,  the  former  represented  by  a  big 
white  bulldog  with  a  military  collar  regarding  the 
sullen  Diogenes  in  his  tub  and  accompanied  by 
many  other  dogs;  High  Life  and  Low  Life, 
typified  by  a  stag-hound  (probably  a  portrait  of 
Sir  Walter  Scott's  Maida),  and  a  butcher's  dog, 
two  small  panels  of  great  celebrity ;  and  Spaniels 
of  King  Charles's  Breed.  The  last 

"  due  to  not  more  than  two  days'  labour,  and  a  triumph 
of  dexterity  in  brush  working,  showing  as  much  facility 
as  the  ancient  fresco  painters  exhibited  when  they  dealt 
with  and  completed  an  important  head  of  a  man  in  one 
day.  The  sweeping  touches  by  which  the  feather  in  the 
felt  hat  is  expressed,  have  been  placed  with  exquisite  pre- 
cision, and  deserve  the  most  careful  consideration  of  all 
students  and  amateurs  in  dexterous  art.  This  kind  of 
execution,  of  which  Landseer's  pictures  exhibit  innumer- 
able illustrations,  is  magical." — (F.  G.  S.) 

Among  works  by  Sir  David  Wilkie,  the  most 
celebrated  of  British  genre  painters,  we  have  the 
Blind  Fiddler;  Village  Festival;  Blind  Man's 
Buff;  the  First  Earrings;  and  John  Knox. 

"  Wilkie  is  the  Goldsmith  of  painters,  in  the  amiable  and 
pathetic  humour,  in  the  combination  of  smiles  and  tears, 
of  the  familiar  and  the  beautiful.  He  is  the  exact  illustra- 
tion of  the  power  and  dignity  of  the  popular  school  in  the 
hands  of  a  master." — (B-L.) 

Among  the  celebrated  works  inspired  by  literary 
subjects  are:  Titania  and  Bottom,  by  Fuseli; 
Maclise's  two  Shakespeare  scenes  from  Hamlet 


44  THE  NATIONAL   GALLERY 

and  Twelfth  Night;  Leslie's  Uncle  Toby  and 
the  Widow  Wadman;  and  Stothard's  Canter- 
bury Pilgrims,  ambling  along  the  Kentish  road  in 
the  early  spring  morning. 

Of  Etty,  one  of  the  best  English  colourists,  the 
Bather  and  Youth  on  the  Prow  and  Pleasure 
at  the  Helm  may  be  noted;  and  of  Ward,  the 
South  Sea  Bubble,  depicting  Change  Alley  in 
1720. 


THE   LOUVRE 
PARIS 

THE  magnificent  Picture  Gallery  of  the  Louvre 
took  long  to  form.  It  had  its  beginning  in  the 
works,  chiefly  Italian  and  Flemish,  gathered  by 
Francis  I.  at  Fontainebleau.  From  his  time,  the 
Cabinet  du  Roi  was  practically  unchanged  until 
the  days  of  Louis  XIV.,  when  Colbert  bought  the 
collection  of  Cardinal  Mazarin  in  1661,  and  that  of 
the  banker  Jabach  in  1671.  The  Cabinet,  which 
contained  200  works  at  the  beginning  of  the  Seven- 
teenth Century,  contained  647  in  1681,  when  it  was 
removed  to  the  Louvre.  In  1710,  the  collection 
numbered  2,403  pictures.  It  was  transferred  to 
Versailles,  to  the  Luxembourg,  and  again  to  Ver- 
sailles before  it  was  finally  deposited  in  the  Louvre 
and  opened  to  the  public  in  1793.  The  catalogue 
then  numbered  537  works ;  and  in  1795  more  were 
brought  from  Versailles.  Additions  were  made  in 
1815,  and  1848;  and,  after  1851,  the  Gallery  was 
greatly  developed.  In  1862,  the  Campana  Collec- 
tion enriched  the  Louvre  with  200  pictures  of  the 
Italian  Schools.  The  superb  legacy  of  Dr.  La  Caze 
in  1869  brought  275  pictures ;  and,  during  the  Third 
Republic,  300  more  were  acquired.  Subsequent  be- 
quests from  Comte  Duchatel,  M.  M.  Gattaux,  His 
de  la  Salle,  Moreaux,  Mme.  V.  Pommery  and 
others  have  contributed  valuable  additions.  Greuze's 
La  Laitiere  is  one  of  the  comparatively  recent 
acquisitions,  a  legacy  from  Mme.  la  baronne  Na- 
45  *  , 


46  THE   LOUVRE 

thaniel  de  Rothschild.  The  Thorny  Thiery  Collec- 
tion, opened  in  1903,  consists  of  paintings  of  the 
Barbizon  School.  Works  from  the  Luxembourg 
are  constantly  being  added.  The  pictures  are  ar- 
ranged in  schools.  Some  idea  of  the  wealth  of  the 
Louvre  may  be  gathered  from  the  numbers  of  ex- 
amples of  a  few  of  the  masters.  Of  the  Italians 
there  are  nine  by  Albani ;  fifteen  by  Annibale  Car- 
racci ;  ten  by  Guercino  ;  ten  by  Luini ;  four  by  Man- 
tegna ;  thirteen  by  Raphael ;  eleven  by  Guido  Reni ; 
eleven  by  Tintoret ;  eighteen  by  Titian ;  and  six  by 
Leonardo  da  Vinci.  Of  the  French  masters  there 
are  twenty-three  by  Boucher ;  twenty-eight  by 
Chardin ;  sixteen  by  Claude ;  nine  by  Courbet ; 
twenty-five  by  Desportes ;  twelve  by  Fragonard ; 
twelve  by  Lancret ;  forty  by  Poussin ;  and  eleven 
by  Watteau.  Of  the  Flemish  paintings  there  are 
four  by  Peter  Brueghel ;  eight  by  Velvet  Brueghel ; 
twenty-three  by  Van  Dyck ;  seven  by  Jordaens ; 
fifty-four  by  Rubens  (of  which  thirty-one  com- 
prise the  Marie  de'  Medicis  series  painted  for  the 
Medici  Gallery  in  the  Luxembourg  Palace)  ;  thir- 
teen by  Snyders ;  and  thirty-five  by  Teniers  the 
Younger.  Of  the  Dutch  there  are  eleven  by  Ber- 
chem ;  six  by  Cuyp ;  twelve  by  Dow ;  six  by  Hals ; 
eleven  by  Jan  Van  Huysum ;  eight  by  Metsu ;  thir- 
teen by  A.  Van  Ostade;  eight  by  Isaac  Van 
Ostade ;  twenty  by  Rembrandt ;  and  fourteen  by 
Wouvermans.  There  are  also  twelve  by  Murillo. 

What  are  usually  considered  the  gems  are:  the 
Raphaels,  the  Leonardos ;  the  Murillos,  the  Titians, 
the  Correggios  and  the  Veroneses — La  Belle 
Jardiniere,  the  Virgin  of  the  Diadem ;  The  Holy 
Family;  Saint  Michael;  Mona  Lisa;  the  Vir- 
gin of  the  Rocks;  and  Saint  Anne;  the  Im- 


PARIS  47 

maculate  Conception  and  the  Holy  Family; 
Alfonso  D'Este  and  Laure  de'  Dianti  and  the 
Man  with  the  Glove;  the  Marriage  of  Saint 
Catherine  and  Antiope;  and  the  Marriage  of 
Cana.  '  v  ' 

Raphael  is  perhaps  more  satisfactorily  repre- 
sented in  the  Louvre  than  in  any  other  gallery. 
Here  we  have  a  series  of  paintings  of  rare  beauty, 
which,  extending  from  1506  to  1518,  embrace  the 
whole  active  period  of  that  life  that  was  so  full  and 
so  soon  ended.  Thus  in  turn  appear  before  our 
eyes  the  St.  George  (1506),  the  Belle  Jardiniere 
(1507),  the  Portrait  of  a  Young  Man  (1508  or 
1509),  the  Virgin  with  the  Blue  Diadem  (1512), 
the  Portrait  of  Balthazar  Castiglione  (1515),  the 
Large  St.  Michael,  and  the  Large  Holy  Family 

(1518).' 

In  St.  George  the  spirit  and  hand  of  a  painter 
who  had  attained  independence  is  recognised. 

"  Would  not  one  be  inclined  to  say  that  this  was  one  of 
those  beautiful  enamels  of  the  beginning  of  the  Sixteenth 
Century,  preserved  in  the  cabinets  of  our  Gallery  of  Apollo? 
For  the  background  of  this  picture,  we  have  a  land- 
scape with  suave  and  harmoniously  cadenced  lines,  fresh, 
springlike,  and  virginal,  in  which  the  verdurous  valleys 
melt  into  the  azure  distances  of  the  mountains  which 
themselves  fade  and  are  lost  in  the  blue  of  a  pure  and 
luminous  sky.  There  is  nothing  present  that  is  not  of  ex- 
quisite grace  and  delicious  sentiment,  even  to  the  little 
female  figure,  robed  in  rose,  and  fleeing  in  the  distance. 
Thus,  everything  in  this  picture  is  of  the  very  first  order. 
Under  modest  appearances,  the  forms  have  a  firmness  of 
accentuation  which  is  the  work  no  longer  of  a  student  but 
of  a  master.  As  for  the  colour,  limpid,  transparent,  and 
of  a  tempered  harmony,  it  reveals  a  state  of  preservation 
that  nearly  four  centuries  have  not  been  able  to  injure." — • 
(F.  A.  G.) 


48  THE   LOUVRE 

The  Little  St.  Michael  is  a  justly  celebrated 
conception. 

"  He  might  have  dispensed  with  the  shield  and  its  red 
cross  on  a  white  ground  which  protects  his  left  arm,  for, 
coming  as  the  messenger  of  divine  justice,  he  wings  his 
flight  from  heaven  and  puts  his  foot  on  the  demon,  who 
struggles  vainly  against  him.  He  has  only  to  bring  down 
the  sword  which  he  holds  in  his  right  hand  to  terminate 
the  unequal  combat.  His  beauty,  his  tranquil  mien  and  the 
light  which  environs  him,  show  that  his  is  a  purely  moral 
victory,  and  in  order  to  accentuate  the  supernatural  char- 
acter of  the  scene,  Raphael  has  represented  it  as  being 
enacted  in  the  middle  of  hell.  A  hideous  owl,  horrible 
dragons,  figures  of  the  damned  devoured  by  serpents,  or 
bowed  down  beneath  the  weight  of  leaden  capes,  form  the 
cortege  of  Satan,  and  a  sinister  light  is  cast  upon  the  back- 
ground by  a  town  in  flames." — (M.) 

La  Belle  Jardiniere  takes  us  to  1507-08,  when 
Raphael  left  Florence  for  higher  triumphs  in  Rome. 

''  It  is  the  song  par  excellence  of  this  pastoral  symphony, 
the  harmonious  preludes  of  which  are  the  Virgin  in  the 
Meadow  and  the  Virgin  with  the  Finch.  It  follows  in 
their  train  and  forms  almost  the  conclusion  of  one  of  the 
important  chapters  in  the  master's  life.  The  Virgin  is 
seated  between  the  Infant  Jesus  and  the  little  St.  John : 
she  has  ceased  looking  at  her  book  that  still  lies  open 
and  apparently  forgotten  on  her  knee.  Entirely  absorbed 
in  contemplation  of  her  Son,  she  is  leaning  towards  him 
and  supporting  him  with  both  hands.  She  is  as  fresh  in 
heart  as  in  countenance.  Her  brow  is  serene  and  fair ;  her 
eyes  are  full  of  love  and  suffused  with  sadness ;  her  mouth 
that  wants  to  smile,  notwithstanding  its  sweetness,  assumes 
an  expression  that  is  almost  austere.  This  Virgin  is  al- 
ready far  removed  from  the  Madonnas,  immobile  in  their 
mysticism,  that  had  cradled  Raphael's  childhood.  We 
feel  Nature  palpitating  within  her.  In  her  physiognomy 
even,  there  is  something  personal  and  individual  that  be- 
trays the  living  model  and  make  us  suspect  a  portrait. 
The  Infant  Jesus,  entirely  naked,  is  standing  in  front  of 
the  Virgin.  Standing  with  both  feet  upon  his  mother's 


ST.  GEORGE  AND  THE  DRAGON— Raphael 

LOUVRE 


CHARLES  THE   FIRST— Few   Dyck 

LOUVKE 


PARIS  49 

right  foot,  he  raises  his  head  towards  her  and  his  eyes  are 
beaming  jvith  love.  Whilst  he  supports  himself  against  his 
mother's  knee  with  his  right  hand,  he  stretches  out  his  left 
hand  towards  the  book  in  the  Virgin's  lap.  It  is  impossible 
to  imagine  a  sweeter  union  or  more  intimate  communion 
betwee  i  the  Virgin  and  the  Bambino.  Gazing  at  his  mother 
Jesus  seems  to  be  desirous  of  telling  her  of  the  homage  he 
is  receiving  from  his  forerunner.  The  little  St.  John  in 
fact,  clad  in  the  fleece  of  a  lamb  that  falls  from  his  right 
shoulder  and  encircles  his  waist,  is  bending  the  knee  be- 
fore his  master  and  fervently  contemplating  him.  The 
picture  charms  the  eye  by  the  landscape  back- 
ground dominated  by  the  divine  group  and  the  fresh 
and  limpid  atmosphere  in  which  dwell  the  Virgin 
and  the  two  children.  The  Church  has  attributed 
to  the  Virgin  all  the  splendours  of  the  regenerated  world, 
and  popular  faith  continues  through  the  centuries  to  fete 
in  Mary  the  dawn  of  beautiful  weather.  She  is  the  Lady 
and  the  Queen  of  Nature  revived  by  the  divine  maternity 
in  her  original  dignity.  Raphael  shows  here  the  Mother 
of  the  Word  modestly  seated  in  the  middle  of  a  meadow, 
in  which  an  abundance  of  plants  and  flowers  are  grow- 
ing. Thence  arises  the  name  of  the  Beautiful  Gardener 
by  which  this  picture  is  generally  known.  Behind  the 
Virgin,  the  planes  slope  harmoniously,  succeeding  one  an- 
other without  brusque  transitions,  and  gradually  leading 
on  the  eye  without  fatigue  and  with  gentle  modulations  to 
the  distant  horizon  bathed  in  light.  To  the  left,  a  few 
trees  rise  lightly  into  the  air.  Farther  away  we  perceive 
groves,  buildings  and  a  lake  that  leads  on  its  opposite 
shore  to  a  city  situated  on  the  banks  of  limpid  waters. 
Then  come  blue  mountains  covered  with  eternal  snow,  the 
summits  of  which  are  lost  in  the  sky." — (F.  A.  G.) 

The  Madonna  of  the  Diadem  belongs  to  the 
Roman  period. 

"  The  Virgin  has  made  of  her  shawl  a  bed  for  the  Infant 
Jesus  to  sleep  on.  In  prayer,  she  watches  over  the  slum- 
bers of  her  Son,  and,  carefully  lifting  the  veil  that  pro- 
tected the  infant,  she  gazes  fixedly  at  this  divine  beauty; 
she  adores  it  but  is  not  at  all  amazed  at  it,  and  remains 


50  THE   LOUVRE 

calm  and  silent.  The  little  St.  John,  on  the  contrary,  al- 
lows his  joy  and  admiration  to  break  out,  and  pressing 
close  against  Mary,  seems  to  want  to  spring  towards  Jesus. 
What  tenderness  and  gentle  familiarity  are  in  the  move- 
ment that  draws  the  Forerunner  to  her !  But  what  is  in- 
describable in  this  picture  and  suffices  to  lift  us  above  the 
earth  is  the  unmixed  purity  in  this  Virgin  face. 

"  To  complete  this  picture,  Raphael  has  evoked  the 
natural  scenery,  the  ruins  and  the  memories  of  Rome.  The 
improvised  bed  of  Jesus  is  backed  up  against  a  forgotten 
block  of  stone  in  the  foreground  of  the  landscape.  Then 
come  substructures  which  like  dismantled  ramparts  are 
succeeded  by  half  fallen  arches  and  vaults.  Vegetation, 
which  is  the  life  of  ruins,  has  invaded  these  glorious  frag- 
ments. The  colour  of  the  sky  dominates  this  picture 
throughout.  The  drapery  upon  which  the  Saviour  is  re- 
posing is  blue ;  the  Virgin's  diadem  is  also  blue ;  Mary's 
blue  tunic  almost  extinguishes  the  red  in  her  robe ;  and 
finally  the  atmosphere  that  bathes  the  city  and  the  horizon 
is  entirely  blue.  The  whole  creation  seems  to  be  rejoicing 
in  this  ideal  light  that  penetrates  all  things  and  yet  has 
nothing  wounding  in  its  brightness." — (F.  A.  G.) 

The  Large  Holy  Family  for  three  centuries  has 
been  known  as  the  Holy  Family  of  Francis  I., 
and  is  the  last  of  this  subject  painted  by  Raphael. 

"  In  this  masterly  work  so  full  both  of  power  and  emo- 
tion, we  admire  in  turn  the  tenderness  of  the  young  mother 
holding  out  her  arms  to  her  Son,  who  springs  towards  her 
beaming  with  happiness,  the  dignity  of  St.  Joseph  and  the 
grace  of  the  angel  who  scatters  the  flowers  over  the  divine 
pair."— (M.) 

The  large  St.  Michael  Overthrowing  Satan, 
thirteen  years  after  the  small  one,  differs  but  little 
from  it.  In  this  work,  the  Archangel  is  armed  with 
a  lance  with  which  he  is  about  to  transfix  the 
demon. 

"  Radiant  with  a  divine  beauty,  he  betrays  more  con- 
tempt than  wrath  towards  his  adversary,  who,  stretched  on 


PARIS  51 

the  ground,  trembles  with  rage  and  pain.  There  is  no  trace 
of  the  fallen  angel  in  the  representation  of  the  latter,  as 
there  was  in  the  picture  of  1504;  the  demon  is  drawn  with 
a  satyr's  face,  hooked  claws  and  muscular  form.  The 
artist,  perhaps,  had  his  task  been  to  paint  Satan  alone, 
would  have  made  him,  like  Milton,  the  most  beautiful  of 
all  angels.  But  in  St.  Michael  Overthrowing  Satan  a  vio- 
lent contrast  is  absolutely  required  between  the  ugliness 
of  the  demon  on  the  one  hand,  and  the  grace  and  pride  of 
his  vanquisher  on  the  other." — (M.) 

According  to  Vasari,  St.  Margaret  was  almost 
entirely  painted  by  Guilio  Romano  after  Raphael's 
design.  It  is  supposed  to  have  been  executed  for 
Marguerite  of  Valois. 

"  He  shows  us  his  heroine  resplendent  with  glory ;  she 
is  full  of  the  joy  of  her  triumph  and  of  eternal  happiness. 
Holding  a  palm-branch,  her  foot  resting  on  the  hideous 
dragon  which  covers  the  ground  with  his  monstrous  coils, 
the  saint  advances  towards  the  spectator,  pure,  radiant  and 
transfigured.  Though  so  near  to  evil  and  deformity  her 
thoughts  are  only  of  heavenly  bliss.  She  is  one  of  the 
most  ethereal  of  Raphael's  creations." — (M.) 

Balthazar  Castiglione  was  painted  with  rapid- 
ity and  enthusiasm. 

"  The  great  charm  of  this  head  is  in  its  gaze  which  is 
at  the  same  time  gentle  and  firm,  loyal  and  sincere  to  the 
highest  degree.  The  nose  is  not  irreproachable  in  form. 
The  mouth,  with  lips  somewhat  strongly  accented,  is  small, 
full  of  humour,  amiable  and  benevolent.  The  cheeks, 
partly  covered  with  heavy  blonde  whiskers,  are  strong  of 
hue  and  full  of  health.  We  feel  attracted  with  strange 
force  towards  this  personage  who  is  all  frankness,  good- 
ness and  virtue.  This  painting  is  masterly  in  execution. 
There  is  nothing  dry  in  the  drawing,  and  it  is  remarkable 
in  its  purity." — (F.  A.  G.) 

The  Portrait  of  a  Young  Man  is 
"  worthy   of   deep  consideration  on   account   of   its   beau- 


52  THE   LOUVRE 

tiful  brush-work  and  its  masterly  mingling  of  colours.  The 
head  looks  alive ;  the  character  of  the  design  is  great  and 
finely  felt  with  much  firmness  and  precision.  One  would 
say  that  Raphael  painted  it  rapidly  at  the  first  attempt.  On 
that  account,  it  is  more  piquant  than  any  other  that  we 
possess  by  this  great  man.  Some  people  regard  it  as  the 
portrait  of  this  painter;  but  it  is  hard  for  us  to  persuade 
ourselves  that  at  so  tender  an  age  as  that  of  the  youth 
represented  in  this  picture,  Raphael  had  so  far  departed 
from  his  first  manner  as  appears  in  this  picture." — (Mar.) 


Perhaps  of  all  portraits  in  the  world  Leonardo 
da  Vinci's  Mona  Lisa  is  the  most  famous. 

"  La  Gioconda  is,  in  the  truest  sense,  Leonardo's  master- 
piece, the  revealing  instance  of  his  mode  of  thought  and 
work.  In  suggestiveness,  only  the  Melancholia  of  Diirer  is 
comparable  to  it;  and  no  crude  symbolism  disturbs  the  ef- 
fect of  its  subdued  and  graceful  mystery.  We  all  know  the 
face  and  hands  of  the  figure,  set  in  the  marble  chair,  in 
that  cirque  of  fantastic  rocks,  as  in  some  faint  light  under 
sea.  Perhaps  of  all  ancient  pictures  time  has  chilled  it 
least. 

"  That  there  is  much  of  mere  portraiture  in  the  picture 
is  attested  by  the  legend  that  by  artificial  means,  the  pres- 
ence of  mimes  and  flute  players,  that  subtle  expression  was 
protracted  on  the  face.  Again,  was  it  in  four  years  and  by 
renewed  labour  never  really  completed,  or  in  four  months 
and  as  by  stroke  of  magic,  that  the  image  was  projected? 

"  The  presence  that  thus  so  strangely  rose  beside  the 
waters  is  expressive  of  what  in  the  ways  of  a  thousand 
years  man  had  come  to  desire.  Hers  is  the  head  upon 
which  all  '  the  ends  of  the  world  are  come,'  and  the  eye- 
lids are  a  little  weary.  It  is  a  beauty  wrought  out  from 
within  upon  the  flesh,  the  deposit,  little  cell  by  cell,  of 
strange  thoughts  and  fantastic  reveries  and  exquisite  pas- 
sions. Set  it  for  a  moment  beside  one  of  those  white 
Greek  goddesses  or  beautiful  women  of  antiquity,  and  how 
would  they  be  troubled  by  this  beauty  into  which  the  soul 
with  all  its  maladies  has  passed?  All  the  thoughts  and 
experience  of  the  world  have  etched  and  moulded  there  in 
that  which  they  have  of  power  to  refine  and  make  ex- 


PARIS  53 

pressive  the  outward  form,  the  animalism  of  Greece,  the 
lust  of  Rome,  the  reverie  of  the  middle  age  with  its  spirit- 
ual ambition  and  imaginative  loves,  the  return  of  the  Pagan 
world,  the  sins  of  the  Borgias.  She  is  older  than  the  rocks 
among  which  she  sits ;  like  the  vampire,  she  has  been  dead 
many  times,  and  learned  the  secrets  of  the  grave ;  and  has 
been  a  diver  in  deep  seas,  and  keeps  their  fallen  day  about 
her ;  and  trafficked  for  strange  webs  with  Eastern  mer- 
chants ;  and,  as  Leda,  was  mother  of  Helen  of  Troy,  and 
as  Saint  Anne,  the  mother  of  Mary;  and  all  this  has  been 
to  her  but  as  the  sound  of  lyres  and  flutes,  and  lives  only 
in  the  delicacy  with  which  it  has  moulded  the  changing 
lineaments  and  tinged  the  eyelids  and  the  hands.  The  fancy 
of  a  perpetual  life,  sweeping  together  ten  thousand  ex- 
periences, is  an  old  one ;  and  modern  thought  has  conceived 
the  idea  of  humanity  as  wrought  upon  by  and  summing  up 
in  itself  all  modes  of  thought  and  life.  Certainly  Lady 
Lisa  might  stand  as  the  embodiment  of  the  old  fancy,  the 
symbol  of  the  modern  idea." — (W.  P.) 

In  the  Madonna  of  the  Rocks  we  find  just  as 
mysterious  and  fantastic  a  background, — this  time 
a  kind  of  grotto  where  the  Virgin  presents  the  little 
St.  John  to  the  Child  Jesus,  who  blesses  him  with 
uplifted  finger.  An  angel  watches  over  the  Holy 
Child. 

"  The  Madonna  of  the  Rocks  may  be  considered  the  type 
of  Leonardo's  second  manner.  The  roundness  of  the  bodies 
obtained  by  gradation  of  tints,  the  exactness  of  the  shad- 
ows and  the  parsimonious  reserve  in  the  light  in  this  un- 
paralleled picture  betray  the  habits  of  a  sculptor. 

"  The  appearance  of  the  Madonna  of  the  Rocks  is  singu- 
lar, mysterious,  and  charming.  A  kind  of  basaltic  grotto 
shelters  the  divine  group  placed  on  the  bank  of  a  spring 
which  shows  the  stones  of  its  bed  through  its  limpid  wa- 
ters. Through  the  arched  grotto  we  see  a  rocky  land- 
scape dotted  with  slender  trees  and  traversed  by  a  stream, 
on  the  banks  of  which  is  a  village ;  the  colour  of  all  this 
is  as  indefinable  as  those  chimerical  countries  that  we  pass 
through  in  dreams  and  is  marvellously  appropriate  to  set 
off  the  figures. 


54  THE   LOUVRE 

"  What  an  adorable  type  is  the  Madonna !  It  is  quite  pe- 
culiar to  Leonardo,  and  does  not  in  the  least  recall  the 
virgins  of  Perugino  nor  those  of  Raphael:  the  upper  part 
of  the  head  is  spherical,  the  forehead  well  developed;  the 
oval  of  the  cheeks  sweeps  down  to  a  delicately  curved  chin ; 
the  eyes  with  lowered  lids  are  circled  with  shadow;  the 
nose,  although  fine,  is  not  in  a  straight  line  with  the  fore- 
head, like  those  of  the  Greek  statues ;  the  nostrils  seem  to 
quiver  as  if  palpitating  with  respiration.  The  mouth, 
rather  large,  has  that  vague,  enigmatical  and  delicious 
smile  which  da  Vinci  gives  to  all  the  faces  of  his  women; 
faint  malice  mingles  there  with  the  expression  of  purity 
and  kindness.  The  hair,  long,  fine,  and  silky,  falls  in  wav- 
ing locks  upon  cheeks  bathed  in  shadows  and  half-tints, 
framing  them  with  incomparable  grace. 

"  It  is  Lombard  beauty  idealized  with  an  admirable  execu- 
tion whose  only  fault  is  perhaps  too  absolute  a  perfection. 

"  And  what  hands !  especially  the  one  stretched  out  with 
the  fingers  foreshortened.  The  arrangement  of  the  drap- 
eries is  of  that  exquisite  and  precious  taste  that  character- 
izes da  Vinci.  An  agrafe  in  the  form  of  a  medallion  fas- 
tens on  the  breast  the  ends  of  a  «mantle  lifted  up  by  the 
arms  which  thus  produce  folds  full  of  nobility  and  ele- 
gance. 

"  The  angel  who  is  pointing  out  the  Infant  Jesus  to  the 
little  Saint  John  has  the  sweetest,  the  finest,  and  the  proud- 
est head  that  brush  ever  fixed  upon  canvas.  He  belongs,  if 
we  may  so  express  it,  to  the  highest  celestial  aristocracy. 
One  might  say  he  was  a  page  of  high  birth  accustomed  to 
place  his  foot  on  the  steps  of  a  throne. 

"  Hair  in  waves  and  ringlets  abounds  upon  his  head,  so 
pure  and  delicate  in  design  that  it  surpasses  feminine 
beauty  and  gives  the  idea  of  a  type  superior  to  all  that 
man  can  dream  of;  his  eyes  are  not  turned  towards  the 
group  that  he  is  pointing  at,  for  he  has  no  need  to  look  in 
order  to  see.  A  divine  indifference  is  depicted  upon  his 
charming  face,  and  almost  a  smile  lurks  in  the  corners  of 
his  lips.  He  accomplishes  the  commission  given  him  by 
the  Eternal  with  an  impassible  serenity. 

"  Assuredly  no  virgin,  no  woman,  ever  had  a  more  beau- 
tiful face;  but  the  most  manly  spirit  and  the  most  dominat- 
ing intelligence  shine  in  those  dark  eyes,  fixed  vaguely 


PARIS  55 

upon  the    spectator    who    seeks    to    penetrate    their    mys- 
tery. 

"  In  the  little  St.  John  the  position  of  the  child,  who  pre- 
sents several  portions  of  his  body  foreshortened,  is  full  of 
grace,  a  grace  sought  for  and  rare,  like  everything  else 
that  the  sublime  artist  ever  did,  but  natural  nevertheless. 
It  is  impossible  to  find  anything  more  finely  modelled.  The 
shadow  advances  towards  the  light  by  gradations  of  in- 
finite delicacy  and  gives  an  extraordinary  relief  to  the 
figure.  Half  enveloped  in  transparent  gauze,  the  divine 
Bambino  kneels,  joining  his  hands  as  if  he  were  already 
conscious  of  his  mission  and  understood  the  gesture  which 
the  little  St.  John  repeats  after  the  angel.  With  regard 
to  the  colour,  if  in  becoming  smoked  it  has  lost  its  proper 
value,  it  has  retained  a  harmony  preferred  by  delicate 
minds  for  the  freshness  and  brilliancy  of  its  shadows.  The 
tones  have  deadened  in  such  perfect  sympathy  that  the  re- 
sult is  a  kind  of  neutral,  abstract,  ideal  and  mysterious 
tint  which  clothes  the  forms  like  a  celestial  veil  and  sets 
them  apart  from  terrestrial  realities." — (T.  G.) 

St.  Anne,  though  a  work  of  singular  nobility,  is 
odd  in  conception.  The  Virgin,  sitting  on  St. 
Anne's  lap,  leans  over  towards  the  Infant  Jesus, 
who  is  holding  a  lamb  by  the  ears  and  trying  to 
climb  upon  its  back.  The  great  interest  of  the  pic- 
ture lies  in  the  two  female  figures. 

"  One  is  the  mother  of  the  other,  but  Leonardo  scarcely 
pays  any  attention  to  that.  It  strikes  his  fancy  to  repre- 
sent a  group  of  two  figures,  young  with  the  same  youth 
and  beautiful  with  the  same  beauty :  that  cuts  short  all  ob- 
jections. From  the  point  of  the  evangelic  drama,  there  was 
a  contrast  to  be  drawn  between  these  two  women.  St. 
Anne  can  smile  without  any  hidden  thoughts  at  the  pranks 
of  the  Bambino,  but  the  Virgin  cannot,  for,  being  in  the 
secrets  of  God,  the  lamb,  the  embfem  of  sacrifice,  must 
awake  in  her  the  presentiment  of  the  cross.  Leonardo  sets 
this  distinction  also  entirely  aside.  The  Virgin  and  St. 
Anne  shall  be  animated  with  the  same  joy:  his  picturesque 
combinations  demand  this,  and  so  much  the  worse  for  the 
Christian  idea  if  it  does  not  receive  its  dues  here.  Here, 


56  THE   LOUVRE 

therefore,  we  have  neither  St.  Anne  nor  the  Virgin :  the 
former  is  far  from  the  Biblical  austerity  that  should  belong 
to  the  spouse  of  St.  Joachim,  and  the  latter  is  still  farther 
from  the  divine  humility  that  is  the  symbol  of  the  mother 
of  Jesus ;  but  the  concord  of  these  two  faces  is  ravishing, 
and  the  harmony  of  their  smiles  is  one  of  the  most  har- 
monious that  ever  could  be  dreamed  of.  Both  are  en- 
chantresses endowed  with  that  Italian  beauty  that  bursts 
forth  and  is  always  accompanied  with  majesty.  One  would 
credit  them  with  being  made  of  light  and  shadow.  Life 
flows  in  them  with  brimming  banks  without  the  appearance 
of  any  gross  clay.  Enigmatic  and  mysterious,  animated  by 
a  strange  sensibility — I  was  about  to  say  sensuality — they 
provoke  admiration  whilst  at  the  same  time  troubling  the 
soul  with  an  emotion  that  almost  amounts  to  enervation." 
-(F.  A.  G.) 


La  Belle  Ferronniere,  though  not  so  great  as 
Mona  Lisa,  is  also  a  haunting  work.  She  repre- 
sents 

"  a  young  woman  with  brown  hair  parted  in  the  middle, 
combed  flat,  brought  down  over  the  ears,  and  kept  in  place 
by  a  black  cord  around  the  head  having  a  diamond  at  the 
centre  of  the  forehead ;  whence  arose  the  name  ferronniere, 
afterwards  given  to  every  kind  of  hair-dressing  similar  or 
analogous  to  this  one.  The  figure,  cut  across  the  middle 
and  halfway  down  the  arm,  by  a  transverse  supporting  bar, 
is  clothed  with  a  red  bodice  with  gold  stripes  and  orna- 
mented with  black  embroidery.  A  thin  necklace  wound 
four  times  around  the  neck  falls  down  over  the  chest,  which 
is  exposed,  the  bodice  being  cut  rather  low  and  square. 
The  head  is  beautiful,  because  it  is  of  absolutely  correct 
form  and  proportion.  It  has  an  expression  of  strong  will, 
and  perhaps  even  sheer  obstinacy,  and  a  suggestion  that 
can  scarcely  be  explained  of  hardness  and  scowling.  The 
features,  perfectly  in  accord  with  one  another,  are  very 
strongly  accentuated.  The  eyes  are  deeply  set,  endowed 
with  fire,  and  capable  of  passion ;  the  outer  world  seems 
to  be  reflected  darkly  in  them.  The  nose  is  small  and  deli- 
cately formed ;  the  mouth  is  also  small,  with  a  sort  of  moue 
that  completes  the  expression  of  the  eyes.  The  strongly 


ADORATION  OF  THE  SHEPHERDS— Ribera 
LOtTVBE 


Q 
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=-. 

s 

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§3 
vn 


PARIS  57 

moulded  chin  is  marked  with  a  small  dimple.  The  cheeks 
have  the  solidity  of  marble.  In  this  painting  there  is  some- 
what of  the  quality  of  plasticity.  The  painter  and  the 
sculptor  have  mingled,  so  to  speak.  One  is  astonished 
rather  than  captivated ;  and  one  is  particularly  struck  with 
the  relief  and  the  singular  character  presented  by  this  por- 
trait. It  imposes  itself  upon  one  with  such  authority  that 
after  having  once  looked  at  it  one  can  never  afterwards 
forget  it."— (F.  A.  G.) 

John  the  Baptist  has  been  called  a  second  por- 
trait of  La  Joconde. 

"  The  mysterious  gloom  of  a  grotto  throws  into  bold 
relief  the  gleaming  body  of  a  young  god,  effeminate  in 
type,  pale  of  countenance,  and  with  a  breast  that  is  almost 
womanly.  The  gesture  of  the  right  hand  is  indeed  that 
of  the  '  Precursor  Domini,'  but  the  head  is  crowned  with 
a  wreath  of  vine-leaves,  and  the  other  hand  holds  a  thyrsus. 
Leonardo  has  metamorphosed  the  locust-eater  of  the  Bible 
into  a  Bacchus,  a  youthful  Apollo  who — with  an  enigmatic 
smile  upon  his  lips,  and  one  white  leg  crossed  over  the 
other — surveys  us  with  an  intoxicating  glance.  Indeed,  we 
cannot  even  tell  with  certainty  whether  it  be  youth  or 
maiden.  It  is  a  figure  out  of  the  times  of  Alcibiades  or 
Antinous.  Leonardo,  the  great  erotic  artist,  mingled  in  this 
picture  with  a  trembling  hand  the  charms  of  both  sexes." 
—  (R.  M.) 

This  gallery  is  rich  in  works  of  small  size,  of  inti- 
mate and  familiar  charm,  in  which  Titian,  while 
giving  first  place  to  figures,  incorporates  them  with 
Nature  so  that  their  poetical  and  moral  expression 
are  inseparable.  Among  these  is  the  St.  Cathe- 
rine, or  the  Virgin  of  the  Rabbit. 

"  Nothing  could  be  more  simple,  or  more  delicate,  more 
rich,  or  more  sonorous.  There  is  also  here  a  Holy  Family 
of  the  same  charm  and  striking  beauty,  with  a  sweeter  and 
more  silvery  note.  Still  more  important  is  the  part  Nature 
plays  in  the  St.  Jerome  of  such  mysterious  effect :  a  stifled 
harmony,  through  which  pass  in  sourdine  notes  the  sombre 


58  THE   LOUVRE 

purple  of  a  mantle,  almost  black  greens  and  browns  and 
silvery  sparks  float  in  the  bluish  and  nocturnal  air." — 
(M.  H.) 

The  Madonna  and  Child  Adored  by  Saints  is 

one  of  the  most  important  works  of  the  master 
here.  There  is  a  replica  of  it  in  the  Belvidere. 
The  colours  are  warm,  various  tones  of  red  pre- 
dominating. 

"  The  Virgin's  features  are  very  beautiful,  and  her  robes 
are  admirably  disposed,  both  as  regards  form  and  effect  of 
light,  in  broad  masses  of  drapery,  with  telling  shadows." — 
(C.  L.  E.) 

The  Pilgrims  of  Emmaus  depicts  the  celebrated 
meal  after  the  Resurrection.  The  pilgrims  are 
said  to  be  portraits,  the  one  on  the  left  in  a  green 
robe  being  the  Emperor  Charles  V.,  and  the  one 
on  the  left,  with  clasped  hands,  Cardinal  Ximenes. 
The  servant  bringing  a  dish  is  identified  as  the 
future  King  of  Spain,  Philip  II.  The  landscape 
background  is  admirable. 

Christ  Crowned  with  Thorns  is  one  of  the 
most  heart-rending  scenes  of  agony  ever  irnagined ; 
but  it  is  executed  in  violent  tones  with  all  the  fire 
and  energy  of  which  Titian  was  capable. 

Grief  is  also  at  its  highest  expression  in  the 
Entombment. 

"  Passion  attains  its  highest  point  of  excitement ;  this  ex- 
pression is  maintained  by  all  devices  of  colouring,  half- 
light,  and  by  the  concurrence  of  landscape  accessories,  but 
the  conception  is  at  once  so  noble  and  expressive  that  the 
emotional  is  not  felt  at  the  expense  of  beauty.  As  a 
touching  lamentation,  this  picture  takes  as  high  a  rank  as 
is  held  by  the  Assumption  of  Mary  as  an  inspired  thanks- 
giving song  of  joy  and  delight." — (A.  G.) 

The  Allegory  of  Avalos  shows  the  Marquis  on 


PARIS  59 

the  point  of  leaving  his  young  bride,  the  beautiful 
Mary  of  Aragon.  Before  departing  to  face  the 
risks  of  war,  in  accordance  with  the  allegorical 
taste  of  the  day,  he  desired  that  the  image  of  his 
happiness  should  mingle  with  the  idea  of  death  and 
glory.  Love,  Victory  and  Hymen  are  therefore 
introduced.  The  success  of  the  picture  was  so 
great  that  the  painter  had  to  repeat  the  motive  with 
variations  for  other  patrons.  Two  of  these  are  in 
Vienna,  and  one  in  Munich. 

Jupiter  and  Antiope,  known  also  as  Venere 
del  Pardo,  was  painted  in  1562. 

"  In  this  brilliant  painting,  the  octogenarian,  reviving  the 
most  delightful  memories  of  his  youth,  once  again  recov- 
ers, in  order  to  express  female  beauty  and  landscape  loveli- 
ness, the  suppleness  and  splendour  of  his  best  days." — 
(G.  Laf.) 

It  has  been  the  fashion  of  late  years  to  identify 
Laura  de'  Dianti  with  the  picture  of  a  girl  at  her 
toilet  attended  by  a  man  holding  two  mirrors, 
and  it  is  supposed  that  the  man  in  the  back- 
ground is  Alfonso  d'Este. 

"  The  light  is  concentrated  with  unusual  force  upon  the 
face  and  bust  of  the  girl,  whilst  the  form  and  features  of 
the  man  are  lost  in  darkness.  We  pass  with  surprising 
rapidity  from  the  most  delicate  silvery  gradations  of  sunlit 
flesh  and  drapery,  to  the  mysterious  depths  of  an  almost 
unfathomable  gloom,  and  we  stand  before  a  modelled  bal- 
ance of  light  and  shade  that  recalls  da  Vinci  entranced  by 
a  chord  of  tonic  harmony  as  sweet  and  as  thrilling  as  was 
ever  struck  by  any  artist  of  the  Venetian  school." — (C. 
and  C.) 

Parnassus  is  one  of  Mantegna's  most  precious 
works. 

"  One  of  the  purest  masterpieces  of  the  Italian  Renais~ 
sance  is  Parnassus, — -that  picture  where,  in  a  landscape 


60  THE   LOUVRE 

that  one  only  sees  in  dreams,  the  nine  Muses,  in  light 
tunics,  of  varied  and  changing  hue,  gaily  dance  and  sing 
upon  the  grass  to  the  sounds  of  the  lyre  with  which  Apollo, 
seated  on  the  left,  accompanies  his  own  songs.  Pegasus 
is  on  the  right,  and  Mercury  is  standing  near  him;  while 
in  the  middle  distance,  on  a  rock,  cut  out  in  the  form  of 
an  arch,  and  showing  in  the  distance  the  green  and  flowery 
declivities  of  Helicon,  Mars  and  Venus  are  revealed,  stand- 
ing in  front  of  a  mass  of  orange  trees.  Near  them,  Cupid 
annoys  with  his  arrows  Vulcan,  who  appears,  furious,  at 
the  entrance  of  a  grotto  where  his  furnace  flames. 

"  Nowhere  else,  in  all  the  work  of  Mantegna,  does  wo- 
man hold  so  great  a  place  as  in  this  picture,  inspired  by  a 
woman  as  attractive  by  the  charms  of  her  beauty  as  by  the 
cultivation  of  her  mind.  These  Muses,  in  their  varied  at- 
titudes of  healthful  grace,  without  affectation  or  archness, 
reveal  memories  of  antique  sculpture ;  and  we  believe  that 
we  can  see  the  inspiration,  or  the  copy  of  a  Greek  marble, 
in  the  beautiful  body  of  Venus,  who  is  the  one  nude  fe- 
male preserved  to  us  in  all  the  works  painted  by  Man- 
tegna."—(J.  G.) 

The  Madonna  of  the  Victory  was  painted  to 
commemorate  the  achievements  of  Francesco 
Gonzaga  in  the  Battle  of  Fornovo.  The  Madonna 
and  Child  are  represented  as  protecting  the  donor, 
and  on  either  side  are  the  Archangel  Michael,  and 
St.  George,  and  the  patron  saints  of  Mantua, 
Andrew  and  Longinus.  The  head  of  Michael  with 
its  golden  locks  is  of  rare  beauty.  The  throne,  in- 
crusted  with  precious  stones  and  ornamented  with 
reliefs,  and  the  canopy,  with  its  wreaths  of  fruits 
and  flowers,  should  be  noted. 

"  The  impression  made  by  this  painting  is  too  powerful 
to  be  described.  It  is  in  every  detail  grandiose— masculine 
energy  being  combined  with  incomparable  grace,  religious 
feeling  with  dignity,  and  luxuriance  of  ornamentation  with 
serene  gravity  of  composition." — (J.  A.  S.) 

The  Coronation  of  the  Virgin  is  one  of  the 


PARIS  61 

most  beautiful  pictures  that  Fra  Angelico  ever 
painted. 

"  Time  has  not  tarnished  the  ideal  freshness  of  this 
painting,  delicate  as  a  miniature  in  a  missal,  and  whose 
tints  are  borrowed  from  the  whiteness  of  the  lily,  the  rose 
of  the  dawn,  the  blue  of  the  sky,  and  the  gold  of  the  stars. 
No  muddy  tones  of  earth  dull  these  seraphic  beings  com- 
posed of  luminous  vapours.  Upon  a  throne  with  marble 
steps,  the  varied  colours  of  which  are  symbolic,  Christ  is 
seated,  holding  a  crown  of  rich  workmanship  which  he  is 
about  to  place  upon  the  head  of  his  divine  mother,  kneel- 
ing before  him,  with  her  head  modestly  inclined  and  her 
hands  crossed  upon  her  breast.  Around  the  throne  throng 
a  choir  of  angel-musicians,  playing  the  trumpet,  the 
theorbo,  the  angelot,  and  the  viola  d'amore.  A  light 
flame  flutters  about  their  heads  and  their  great  wings 
palpitate  with  joy  at  this  glorious  coronation  which  will 
transform  the  humble  handmaid  of  the  Lord  into  the  Lady 
of  Paradise.  To  the  left,  an  angel  kneels  in  prayer.  In 
the  lower  part  of  the  painting  with  faces  uplifted  to  the 
sky  the  hosts  of  the  blessed,  distributed  in  two  groups, 
adore  and  contemplate.  In  the  foreground  is  the  charm- 
ing group  of  saints  of  perfectly  celestial  grace ;  the  kneel- 
ing Magdalen  offers  her  vase  of  perfumes ;  St.  Cecilia  ad- 
vances crowned  with  roses,  St.  Clara  gleams  through  her 
veil,  constellated  with  crosses  and  golden  stars ;  St.  Cathe- 
rine, of  Alexandria  leans  upon  her  wheel  as  calmly  and 
peacefully  as  if  it  were  a  spinning-wheel ;  and  St.  Agnes 
holds  in  her  arms  a  little  white  lamb,  the  symbol  of  in- 
nocent purity. 

"  Fra  Beato  Angelico  has  given  to  these  youthful  saints 
a  celestial  and  ideal  beauty,  whose  type  exists  not  upon 
this  earth.  They  are  visible  souls  rather  than  bodies,  they 
are  thoughts  of  human  form  enveloped  in  these  chaste 
draperies  of  white,  rose,  and  blue,  sown  with  stars  and 
embroidered,  clothed  as  might  be  the  happy  spirits  who 
rejoice  in  the  eternal  light  of  Paradise.  If  there  be  paint- 
ings in  Heaven,  surely  they  must  resemble  those  of  Fra 
Angelico." — (T.  G.) 

No  picture  gives  a  better  idea  of  Luini  than 
Salome  Receiving  the  Head  of  John  the  Baptist. 


62  THE   LOUVRE 

Luini  painted  this  subject  many  times.  Here 
Salome  holds  the  dish  above  which  the  head  is  sus- 
pended by  the  hand  of  the  executioner. 

Salome  receives  it  with  the  utmost  indifference. 
Her  youth  and  gracefulness  make  her  altogether 
charming.  She  is  dressed  modestly  and  her  lovely 
auburn  hair  is  correctly  arranged  and  falls  in 
waves  as  far  as  her  shoulders.  There  is  nothing 
about  her  to  suggest  the  daughter  of  Herodias. 
She  is  one  of  Luini's  beautiful  creations. 

"  The  head  of  John  the  Baptist  is  seen  nearly  full  face 
and  seems  to  be  asleep  rather  than  decapitated.  The  fea- 
tures are  beautiful,  a  great  calm  has  overspread  them  and 
death  has  given  them  an  exalted  purity.  The  august  and 
serene  face  with  the  beard  that  frames  it  and  the  hair, 
which  in  the  hand  of  the  executioner  rises  above  the  head 
as  the  strophium  of  the  gods,  inspires  respect  and  com- 
mands admiration.  Luini  confounds  John  the  Baptist  and 
Jesus  in  the  same  ideal." — (F.  A.  G.) 

Correggio  has  only  two  works  here,  but  these 
are  of  supreme  quality.  In  the  Marriage  of  St. 
Catherine 

"  the  master's  individuality  is  thoroughly  asserted.  The 
religious  thought  is  thrown  quite  in  the  background,  and 
the  Christian  idea  of  uniting  the  chaste  St.  Catherine  to 
the  Infant  Jesus,  and  making  her  the  bride  of  Heaven  by 
means  of  a  ring,  is  utterly  lost  sight  of  in  this  joyous  rep- 
resentation of  sensuous  life.  The  natural  grace  displayed 
in  the  attitudes  of  the  figures  is  very  striking.  Even  St. 
Sebastian,  who  takes  a  prominent  part  in  the  ceremony  in 
spite  of  his  wounds  and  arrows,  is  the  very  embodiment 
of  tranquil  joy  and  glows  with  the  rich,  warm  tints  of 
animated  life.  All  appear  United  by  ties  of  the  warmest 
affection.  The  rich  golden  tone  of  the  flesh,  the  colour  of 
which  seems  to  blush  from  beneath,  is  particularly  strik- 
ing in  this  picture.  It  is  peculiar  to  Correggio,  and  notice- 
able in  most  of  his  works,  as  well  as  the  power  he  possesses 


PARIS  63 

of   producing    the    most    subtle    gradations    of    light   and 
varieties  of  tint." — (J.  M.) 

Jupiter  and  Antiope  possesses  the  same  warm 
flesh  tones  and  beautiful  high  lights,  but  is 
stronger  in  its  display  of  technical  skill,  and  is 
one  of  the  finest  works  of  Correggio's  middle 
period. 

"  The  sweet  repose  of  sleep  has,  perhaps,  never  been 
more  gracefully  portrayed.  In  a  warm  thicket  with  the 
light  breaking  through  the  foliage,  lies  a  nymph  on  rising 
ground,  quite  naked,  with  her  arms  thrown  into  easy  posi- 
tion expressive  of  rest.  The  light  falls  full  upon  the  broad 
surface  of  her  body,  which  stands  out  in  bright  relief  from 
the  blue  cloth  upon  which  she  is  lying.  Upon  her  head 
that  reclines  on  her  arm,  a  half  shade  falls,  investing  her 
with  such  a  life-like  appearance  that  one  almost  seems  to 
hear  her  breathe.  Beside  her  sleeps  the  most  charming 
winged  Amor,  as  soundly  as  it  is  only  possible  for  a  child 
to  sleep.  On  the  other  side  a  little  farther  back,  under  the 
shadow  of  the  tree,  is  a  cloven-footed  satyr,  a  fabulous 
being,  but  real  flesh  and  blood  for  all  that.  He  stands 
close  to  the  tree  against  which  the  nymph  is  resting  and 
holds  the  garment  which  he  seems  to  have  lifted  in  order 
to  display  the  nudity  of  her  form.  All  around  is  a  lovely 
wooded  landscape  with  a  vista,  through  which  we  discern 
a  distant  view,  and  upon  which  the  light  is  thrown  in  such 
a  manner  as  only  Correggio  understands.  The  grand  out- 
lines of  the  forms,  the  light  glimmering  through  the 
foliage  and  the  perfect  realism  of  the  whole  render  this  a 
most  masterly  work." — (J.  M.) 

The  Madonna  and  Child  by  Perugino  is  sweet 
and  spiritual.  In  the  middle  of  an  atrium,  paved 
with  marble  and  surrounded  by  a  wall  above  which 
the  beautiful  Umbrian  landscape  is  seen,  sits  the 
Virgin  holding  her  Child.  On  the  left  stands  St. 
Rose  with  a  crystal  vase  in  one  hand  and  a  branch 
of  a  flowering  rose-bush  in  the  other.  Opposite  is 
St.  Catherine  of  Alexandria  with  a  book  and  a  palm 


64  THE   LOUVRE 

branch.  Behind  them  stand  two  angels  with  out- 
spread wings  and  clasped  hands  in  devout  adora- 
tion. Everything  is  beautiful  and  chaste.  The 
saints  are  not  of  this  world,  but  seem  to  look  with 
their  far-away  gaze  into  mysterious  depths.  The 
Virgin  has  delicate,  beautiful  features  and  a  lov- 
able expression.  Her  hair  is  blonde  and  artistically 
arranged  and  her  veil  gracefully  disposed  as  are 
the  folds  of  her  robe.  A  rich  jewel  is  placed  above 
her  loosely-tied  scarf. 

"  Reason  cannot  penetrate  the  mystic  beauty  of  this  pic- 
ture. One  stops  before  it  filled  with  reverence  as  before 
a  mystery.  Here  we  find  the  precious  germ  which  Peru- 
gino  placed  in  Raphael's  soul  which  was  destined  to  blos- 
som in  Rome  under  unique  conditions." — (F.  A.  G.) 

In  the  Holy  Family,  by  Andrea  del  Sarto,  the 
Virgin  seated  on  the  ground  holds  Jesus  in  her 
arms  and  presents  him  to  the  little  Saint  John, 
who  is  standing  before  his  kneeling  mother, 
Elizabeth.  Two  angels  with  outspread  wings 
are  behind  the  Virgin  in  ecstasy. 

"  This  picture  is  remarkable  for  the  masterly  combina- 
tion of  lines  and  the  suavity  of  the  effect.  The  six  figures 
which  are  united  here  form  a  concert,  the  harmony  of 
which,  though  a  little  heavy,  is  delicious." — (F.  A.  G.) 

Veronese's  celebrated  Marriage  at  Cana  is 
about  thirty-two  feet  in  length  by  twenty-two  in 
height. 

"  If  we  speak  merely  of  jeasel  pictures,  which  are  mov- 
able, this  is,  I  believe,  the  largest  picture  ever  painted. 
It  is  known  that  under  pretence  of  these  festive  scenes 
Paul  Veronese  painted  simply  the  feasts  of  his  own  times. 
It  is  also  known  that  the  persons  collected  in  these  vast 
compositions  were  usually  portraits.  Thus,  among  the 
guests  in  the  Marriage  of  Cana,  some  have  recognised,  or 


fe 


THE  HOLY  FAMILY — Murillo 
LOUVRE 


PARIS  65 

thought  they  recognised,  Francis  I.,  Charles  V.,  the  Sultan 
Soliman  I.,  Eleanor  of  Austria,  the  Queen  of  France,  Mary 
Queen  of  England,  the  Marquis  of  Guastalla,  the  Marquis 
of  Pescara,  the  celebrated  Vittoria  Colonna,  his  wife,  etc. 
In  the  group  of  musicians  placed  in  the  centre  of  the  long 
table,  in  the  shape  of  a  horse-shoe,  may  be  recognised  with 
more  certainty  Paul  Veronese  himself,  dressed  in  white 
silk,  seated  and  playing  on  the  violoncello.  Then  his 
brother,  Benedetto  Cagliari,  standing  with  a  goblet  in  his 
hand ;  then  Tintoretto  playing  on  the  violin,  the  old  Titian 
playing  on  the  double  bass,  and  Bassano  (Jacopo  da 
Ponte)  playing  on  the  flute.  All  these  circumstances  cer- 
tainly increase  the  historical  interest  of  the  picture." — 
(L.  V.) 

The  Feast  in  the  House  of  Simon  the  Phari- 
see is  about  half  the  size  of  the  Marriage 
Feast  at  Cana,  but  is  none  the  less  remarkable  for 
the  action  of  the  figures,  the  colours  and  the  archi- 
tecture. The  scene  takes  place  in  a  magnificent 
palace  where  the  personages  are  dressed  in  the  cos- 
turns  of  wealthy  Venetians.  Jesus  occupies  the 
place  of  honour  at  the  table  on  the  right  and  Simon 
that  on  the  left,  while  between  the  two  the  fair 
penitent  is  kneeling.  The  tables  are  set  and  served 
with  sumptuous  vessels  and  dishes  and  the  bal- 
conies are  crowded  with  spectators.  Air  and  light 
circulate  freely  and  in  the  sky  two  angels  unfold 
a  banderole. 

"  What  a  masterly  work !  What  nobility  in  the  manner 
of  seeing  and  interpreting  nature!  How  living  are  all 
these  figures,  how  varied,  how  individual,  how  true !  What 
wealth  of  picturesque  invention!  What  breadth  of  execu- 
tion! What  surety  of  touch!  What  freedom  of  drawing! 
What  freshness  of  colour!  What  radiant  serenity  in  this 
vast  picture!  "— (F.  A.  G.) 

The  Disciples  of  Emmaus  is  another  great  com- 
position entirely  lacking  in  religious  feeling;  but 


66  THE   LOUVRE 

the  amplitude  of  the  design,  the  beauty  of  the 
draperies,  the  richness  of  the  costumes,  the  grace 
of  the  children's  figures,  and  the  strength  and  har- 
mony of  the  colours  rank  it  high  among  the  works 
of  this  master. 

In  Giorgione's  Concert  Champetre 

"  strange  and  variegated  costumes,  types  of  a  clearly 
written  character,  warm  and  red  carnations  detach  them- 
selves gaily  from  the  greenery  of  a  landscape ;  that  is  what 
he  loves,  that  is  what  has  sufficed  for  him  to  produce  an 
admirable  painting,  for  it  is  nothing  less." — (P.  M.) 

The  Nativity,  by  Francia,  is  a  small  but  char- 
acteristic example  of  this  master.  In  a  beautiful 
landscape,  with  bluish  mountains  on  the  horizon, 
the  Virgin,  St.  Joseph  and  two  angels  are  adoring 
the  Holy  Child.  The  face  of  the  kneeling  Mother 
is  very  beautiful  and  full  of  devotional  expression. 

Solario's  Madonna  and  Child,  known  as  The 
Green  Cushion,  is  a  good  specimen  of  his  grace, 
beauty  of  colour  and  feeling. 

The  Descent  from  the  Cross,  by  Jacopo  da 
Ponte  (Bassano),  is  a  group  of  the  usual  men  and 
Holy  Women.  A  striking  effect  is  obtained  by  the 
burning  torch  that  is  placed  near  the  cross  and  illu- 
minates the  scene  of  darkness  and  mourning. 

The  Message  to  the  Shepherds,  by  Palma 
Vecchio,  shows  the  Madonna  seated  before  a  ruined 
building  supporting  in  his  humble  bed  the  Child 
before  whom  a  shepherd  is  kneeling.  St.  Joseph  is 
seated  near  the  Virgin,  and  the  donor  kneels  on  the 
left.  On  the  right  is  a  landscape  where  the  three 
angels  are  seen  telling  the  joyful  news  to  the  shep- 
herds in  the  early  dawn,  which  is  beautifully  ex- 
pressed. 

"  The  beauty  of  the  heads,  the  easy  pose  of  the  figures, 


PARIS  67 

the  suppleness  of  the  draperies  and  the  vivacious  colours 
make  this  one  of  the  most  beautiful  pictures  of  the  Vene- 
tian school." — (T.  G.) 

Ghirlandajo's  Visitation  is  full  of  thought  and 
beauty.  The  Virgin  bends  modestly  towards  the 
kneeling  Elizabeth  in  a  vestibule,  the  arcades  of 
which  afford  glimpses  of  a  vast  landscape.  Behind 
Elizabeth  a  young  woman  with  clasped  hands 
stands  bowing  respectfully  to  Mary,  behind  whom 
another  woman  stands  in  dignity,  as  if  to  show  her 
pride  at  being  the  attendant  on  the  Mother  of  the 
Saviour. 

"  These  two  accessory  figures  are  admirable :  they  are 
two  angels  without  wings.  The  second  one  in  particular 
possesses  a  beauty  before  which  that  of  the  principal  per- 
sonages pales." — (F.  A.  G.) 

Sebastian  del  Piombo's  Visitation  is  one  of  his 
best  works,  executed  in  the  full  strength  and  matur- 
ity of  his  talent  under  Michael  Angelo's  guidance. 
Particularly  admirable  are  the  heads  of  the  Virgin 
and  St.  Elizabeth,  which  are  irreproachable  in  de- 
sign. It  is  even  said  that  the  Virgin's  head  was 
painted  by  Michael  Angelo  himself. 

Tintoret's  Paradise  is  a  long  horizontal  picture 
crowded  with  tiny  figures — angels,  prophets, 
martyrs  and  others  of  the  heavenly  host — arranged 
in  rows  around  the  central  group  consisting  of 
Christ  who  is  crowning  the  Virgin.  Celestial  light 
and  rings  of  cloud  show  the  genius  of  this  great 
painter. 

Of  two  examples  of  Susannah,  by  Tintoret,  the 
one  called  Susannah  at  the  Bath  is  the  most 
celebrated.  Susannah  is  seated  before  a  grove  with 
two  maids,  one  of  whom  is  attending  to  her  foot, 


68  THE   LOUVRE 

and  the  other  combing  her  hair.     The  elders  are 
seen  in  the  background. 

"  A  number  of  animals  and  birds  which  play  on  the 
grass  and  sport  on  the  water  show  very  plainly  that  when 
Tintoret  abandons  his  violent  brush,  he  is  capable  of  the 
most  exquisite  details." — (F.  A.  G.) 

In  his  own  Portrait,  Tintoret  appears  in  som- 
bre aspect. 

"  He  is  seen  full  face,  old  and  dressed  in  black ;  his 
features  are  austere,  his  regard  profound  with  something 
of  sadness  and  disillusion.  Years  have  accumulated  with- 
out robbing  him  of  vigour.  No  labour  has  marked  him 
with  fatigue.  His  robust  old  age  seems  ready  to  begin  the 
battle  of  life  afresh."— (F.  A.  G.) 

Two  Men,  by  Gentile  Bellini,  long  passed  for 
likenesses  of  himself  and  his  brother  Giovanni. 
They  are  simple  busts,  facing  one  another,  of  men 
in  the  prime  of  life.  A  landscape  is  seen  in  the 
background  on  either  side  of  the  curtain. 

"  The  execution  of  this  picture  is  naive  and  charming  at 
the  same  time.  The  design  is  that  of  a  master  and  the 
colours  are  deliciously  melted.  It  may  be  considered  as 
the  prelude  to  the  most  beautiful  Venetian  pictures." — 
(F.  A.  G.) 

Among  the  striking  portraits  by  Italians  are 
Titian's  Man  with  the  Glove;  Paris  Bordone's 
Man,  in  a  black  costume  that  brings  out  the  fresh- 
ness of  his  complexion;  John  of  Calcar's  Man 
with  a  Red  Beard;  Bronzino's  Sculptor  holding  a 
statutette ;  and  Caravaggio's  Alof  de  Vignacourt, 
Grand  Master  of  Malta,  are  notable.  The  armour 
of  the  latter  is  splendidly  treated. 

"  This  portrait  is  a  veritable  page  from  history,  soberly 
conceived,  solidly  painted,  and  skilfully  lighted." — (F.  A. 
G.) 


PARIS  69 

• 

Two  Concerts,  by  John  of  Bologna  (Valentin), 
are  masterly  works.  One  consists  of  eight  persons 
seated  around  a  table  covered  with  a  rich  cloth.  A 
richly-dressed  man  in  plumed  hat  plays  a  curved 
hautboy ;  a  young  woman  plays  a  spinet ;  other  men 
play  stringed  instruments  and  the  rest  are  singing. 
Blanc  points  out  the  fact  that  although  the  company 
is  well  dressed,  all  have  such  bad  faces  that  they 
are  probably  thieves  and  robbers.  The  second 
Concert  consists  of  seven  figures  grouped  around 
a  stone  pedestal,  playing  lutes,  guitars,  and  violins, 
and  singing.  In  the  background,  a  woman  is  empty- 
ing a  bottle.  It  is  a  splendid  triumph  of  colour 
and  costume,  and  captivating  in  its  treatment  of 
chiaroscuro  and  contrast. 

Guercino's  Resurrection  of  Lazarus,  painted 
with  great  force,  has  many  vulgar  details.  He  is 
also  represented  by  the  Patron  Saints  of  Modena, 
where  the  Virgin  is  seated  on  the  clouds  with  the 
Child  Jesus  in  her  arms,  accompanied  by  two 
angels.  On  the  earth,  St.  Geminiano  receives  from 
an  angel  the  model  of  the  town  of  Modena ;  another 
angel  behind  him  bears  his  cross.  St.  John  the 
Baptist  is  kneeling  to  the  Virgin ;  St.  George  is 
standing  in  full  armour;  and  behind  is  St.  Peter 
Martyr  in  the  Dominican  habit. 

Dejanira  Carried  off  by  Nessus  shows  Guido 
in  full  possession  of  his  distinguishing  qualities — 
grace  and  delicacy,  correct  and  elegant  drawing, 
soft  and  brilliant  colouring,  and  rich  and  harmoni- 
ous distribution  of  light. 

The  Entombment,  by  Annibale  Carracci,  is 
notable  for  its  excellent  grouping,  fine  sense  of 
form,  light  and  shade  and  pathos  in  the  expression 
and  attitude  of  the  Virgin. 


70  THE   LOUVRE 

The  Virgin  Appearing  to  St.  Luke  and  St. 
Catherine  is  also  a  famous  work;  as  is  also  his 
Virgin  with  the  Cherries.  The  Martyrdom  of 
St.  Stephen  is  another  of  his  best  works. 

Caravaggio's  Concert  represents  ten  musicians, 
four  of  whom  are  playing  instruments  and  six  are 
singing  in  a  room,  a  door  of  which  opens  into  the 
country.  They  are  well  dressed.  The  picture  is 
remarkable  for  the  firmness  of  execution  and  the 
individuality  of  the  heads.  The  group  evidently 
consists  of  portraits. 

The  Death  of  the  Virgin  is  noted  for  its  in- 
tense dramatic  treatment;  and  the  Fortune 
Teller  for  its  truth  as  a  character  study. 

Spada's  Concert  represents  three  musicians  and 
a  child  seated  around  a  table.  One  tunes  a  lute, 
the  other  holds  a  violin  and  points  with  his  bow  to 
a  music-book,  and  the  third  places  his  finger  on  his 
lips  to  command  silence. 

Salvator  Rosa's  Battle  with  its  conflict  of  horse- 
men, temple  in  ruins,  and  burning  vessels  portrays 
all  the  horrors  of  war. 

"  This  is  a  large  picture  full  of  gloom  and  horror,  the 
men  engaged  in  the  fight  looking  more  like  demons  let 
loose  from  the  infernal  regions  than  gallant  soldiers.  Be- 
yond the  trick  of  light  and  shade,  which  relieves  the  figures 
from  each  other,  and  the  variety  of  action  delineated,  there 
are  really  no  points  of  merit  in  the  picture." — (C.  L.  E.) 

One  of  the  most  beautiful  of  Murillo's  many 
Immaculate  Conceptions  is  the  inspired  work  in 
the  Louvre. 

"  In  a  diaphanous  atmosphere  gilded  with  an  invisible 
clearness  as  of  Paradise,  the  winged  heads  and  bodies  of 
little  angels  are  moving:  the  former  gracefully  grouped, 
the  latter  bodily  and  skilfully  disposed.  The  celestial  in- 


PARIS  71 

fants  have  followed  all  the  way  to  the  earth  the  rays  of 
celestial  light  in  its  elusive  gradations  of  colour  under  its 
imperceptible  glazing.  In  the  centre,  in  the  act  of  ascent, 
the  Virgin  rises  in  ecstasy.  One  corner  of  a  cloud,  the 
crescent  moon,  and  a  masterly  group  of  little  angels,  naked 
and  enraptured,  bear  the  Immaculate  aloft.  Gracefully  and 
statuesquely  posed,  and  broadly  draped  in  a  white  robe 
with  sober  folds  enriched  by  an  ample  scarf  of  light  blue, 
she  modestly  hides  her  feet  under  the  drapery  and  chastely 
crosses  her  hands  over  the  breast  in  which  she  feels  the 
conception  of  the  Son  of  God  operating.  Her  head  under 
its  dishevelled  waves  of  black  hair,  a  little  turned  back  and 
bending  slightly  to  one  side,  is  raised  to  heaven  with  up- 
lifted eyes  and  open  mouth,  as  if  to  receive  in  every  sense 
the  flow  of  the  spirit.  The  face,  in  the  exquisite  sweet- 
ness of  a  surrender  to  piety,  reflects  the  bliss  of  Faith, 
of  mystical  voluptuousness,  and  divine  ecstasy.  The  ex- 
pression is  religious,  but  the  Virgin  is  human,  and  full  of 
life  in  the  firmness  of  her  lines  and  the  warmth  of  her 
flesh-tints.  Beneath  the  suppleness  of  the  drawing  and  the 
soft  touches  we  recognize  in  Mary  the  Immaculate,  the 
woman,  and  even  the  Andalusian. 

"  The  whole  work  is  a  most  harmonious  and  well- 
balanced  composition,  of  the  greatest  opulence  of  colour, 
solidly  laid  in,  and  here  and  there  lightly  glazed  over  in  the 
Venetian  manner;  a  superb  work  this,  in  which  Murillo 
has  found  the  right  point  where  his  idealism  and  his 
materialism  meet  and  mingle." — (A.  Gn.) 

Of  almost  equal  fame  is  the  Holy  Family. 
The  Virgin's  face  is  one  of  the  most  beautiful 
Murillo  ever  painted  and  never  did  softer  hues 
come  from  his  palette. 

"What  serenity  is  contained  in  The  Holy  Family!  The 
Virgin  holds,  standing  upon  her  knees,  the  Infant  Jesus, 
who  is  leaning  towards  Saint  John  the  Baptist.  The  latter 
is  presenting  the  Infant  God  with  a  cross  of  reed.  In  his 
left  hand  he  is  holding  a  scroll  on  which  the  words  Ecce 
agnus  Dei  are  inscribed.  A  lamb  is  lying  in  the  fore- 
ground. Saint  Elizabeth,  with  a  contemplative  glance,  is 
on  her  knees.  A  dove  hovers  above  the  Bambino's  head, 


72  THE   LOUVRE 

and,  in  the  sky,  God  the  Father  leans  towards  the  group. 
I  admit  that  the  Virgin's  head  is  a  delicate  portrait,  but  it 
is  not  merely  a  portrait.  This  reservation  made,  I  am 
ready  to  pronounce  an  unbounded  eulogy  for  the  harmony 
of  the  composition,  the  happy  contrasts  of  the  positions 
and  types,  the  correctness  of  the  attitudes  and  the  lightness 
and  transparency  of  the  colouring.  Some  imponderable 
cherubim  are  playing  in  the  ether,  but  nearer  to  the  spec- 
tator is  the  body  of  the  Infant  Jesus,  which  with  its  clearly 
marked  contours,  and  without  dryness,  surpasses  in 
elegance,  distinction  and  gracefulness,  the  cherubim  that 
are  happy  to  contemplate  him." — (H.  J.) 

The  Miracle  of  San  Diego,  also  called  the 
Angels'  Kitchen,  was  carried  away  from  Seville 
by  Marshal  Soult. 

"  On  the  right  of  the  spectator  two  knights  stand  amazed 
at  the  scene  which  represents  the  culinary  operations  of 
the  Convent  being  carried  on  by  angels.  Two  celestial 
figures  with  wings  outspread  stand  in  the  foreground ; 
others  are  occupied  in  preparing  food.  Meanwhile  St. 
Diego  in  rapture  is  poised  in  the  air  returning  thanks  for 
the  timely  help  accorded  to  his  prayers  on  behalf  of  his 
needy  Franciscans.  In  front  of  the  two  principal  figures 
of  the  angels  is  a  tablet  with  a  narrative  of  the  miracle." 
-(A.  F.  C.) 

Soult  also  obtained  the  Birth  of  the  Virgin 

from  the  Seville  Cathedral,  threatening  to  shoot 
two  reluctant  members  of  the  Chapter  unless  they 
gave  up  the  picture. 

"  In  the  foreground  four  female  figures  are  about  to 
place  the  infant  in  her  bath ;  one  has  the  child  in  her  arms, 
another  attends  with  linen ;  two  angels  are  in  attitude  of 
adoration.  To  our  left  are  two  sturdy  boy  angels  bringing 
linen,  one  of  whom,  his  head  turned  aside,  is  noticing  a 
dog.  To  our  extreme  left,  and  in  the  background,  St. 
Anne  is  raised  in  bed  receiving  visitors,  who  are  seen  in 
half-light.  On  our  right  two  attendants  are  airing  linen 
at  a  fire-place.  In  the  upper  part  of  the  chamber  are  four 


PARIS  73 

child-angels  in  glory.  The  bare  left  arm  of  the  woman 
in  the  foreground,  whose  back  is  towards  the  spectator, 
is  said  to  have  excited  the  jealous  envy  of  the  ladies  of 
Seville  by  its  beauty  of  shape  and  colour." — (A.  F.  C.) 

The  Beggar  Boy,  a  dirty,  ragged  little  urchin 
sitting  on  the  ground  under  a  wall,  with  a  pitcher 
and  a  basket  of  fruit  beside  him,  is  illumined  by  a 
wonderful  stream  of  yellow  light. 

Velasquez  is  represented  by  seven  fine  works. 
The  Infanta  Maria  Marguerita  is  one  of  the 
most  famous  portraits  of  childhood  ever  painted. 
The  little  daughter  of  Philip  IV.,  already  conscious 
of  her  majesty,  is  shown  here  at  the  age  of  seven 
or  eight,  standing  with  her  hand  on  a  chair  and 
looking  directly  at  the  spectator.  She  wears  a 
dress  of  white  silk  trimmed  with  black  lace  and 
pink  bows,  a  necklace,  bracelets  and  golden  chain, 
and  holds  a  flower  in  her  left  hand.  A  pink  bow 
ornaments  her  fair  hair.  The  painter  has  sug- 
gested in  the  subtlest  way  the  atmosphere  that  sur- 
rounds the  queenly  child. 

"  This  is  a  charming  portrait,  full  of  child-like  grace, 
the  delicate  flesh  tints  blending  admirably  with  soft  grey 
transparent  shadows,  and  the  whole  swiftly  but  dexter- 
ously painted." — (C.  L.  E.) 

Herrera's    St.    Basil    Dictating    his    Doctrine 

represents  the  Saint  in  episcopal  robes,  pen  in 
hand.  Four  other  saints  are  present. 

"  These  convulsed  faces  are  distorted  with  an  infernal 
malignity,  and  the  Holy  Spirit  which  flaps  its  wings  above 
the  saint  looks  like  a  falcon  that  wants  to  eat  his  brains. 
All  this  is  carried  out  with  inconceivable  fury  of  the  brush, 
and  gleams  with  the  reflections  of  an  Auto  da  Fe." — 
(T.  G.) 


74  THE   LOUVRE 

The  Club-Foot  (Pied  de  Botte),  by  Ribera,  is 
a  remarkable  work  by  a  savage  nature. 

"  A  picture  that  without  exaggeration  may  be  called  a 
classic  of  realism.  In  the  breadth  of  the  treatment  and 
the  sincerity  of  the  characterization,  it  challenges  Velas- 
quez, not  unworthily,  in  the  mood  in  which  he  painted  his 
marvellous  dwarfs." — (A.  F.  C.) 

Four  devotional  works  also  illustrate  the  powers 
of  his  remarkable  genius :  the  Adoration  of  the 
Shepherds,  an  Entombment,  St.  Paul  the  Her- 
mit, and  a  Virgin  and  Child. 

Clouet's  Elizabeth  of  Austria  is  a  masterpiece 
that  stands  comparison  with  its  contemporary, 
Holbein's  Anne  of  Cleves. 

"  The  French  artist  has  never  been  more  French,  that 
is  to  say,  more  exact,  true  and  poetic  in  his  own  way  with- 
out effort  than  in  this  little  picture  painted  from  life  at  a 
date  when  the  bad  Italianism  of  Fontainebleau  had  already 
poisoned  our  national  school.  Look  at  that  brow  that  is 
too  high  and  slightly  bulging  towards  the  roots  of  the 
hair;  and  those  lips  pressed  together  in  a  kind  of  grimace 
that  is  not  without  a  certain  childish  stupidity ;  and  that 
long  nose  broad  at  the  nostrils — all  so  many  restrictions  of 
beauty,  whilst  the  eyes  alone,  gentle,  observant  and  kind 
beneath  their  still  undecided  shrewdness,  turn  towards  the 
corners  of  the  lids  under  the  very  high,  pure  and  almost 
imposing  arch  of  the  brows.  If  now  we  go  through  the 
various  parts  of  the  costume,  from  the  pearls  of  the  head- 
dress to  the  rings  that  adorn  the  two  crossed  hands,  we 
shall  find  everywhere  the  same  conscientiousness  and  the 
same  exactitude  of  disposition.  The  blonde  hair,  raised 
and  puffed  over  the  curve  of  the  temples  above  the  fore- 
head, is  then  plaited  and  brought  down  over  the  neck  in  a 
net  embroidered  with  pearls  and  fastened  on  the  top  of 
the  head  by  a  gold  ornament.  The  neck  is  confined  in  a 
ruff  of  fluted  lace  beneath  which  runs  a  collar  of  precious 
stones,  an  admirable  piece  of  goldsmith's  work  the  disposi- 
tion of  which  is  repeated  along  the  edging  of  the  bodice, 
the  puffed  chemisette  divided  into  lozenges  by  a  lacing  of 


PARIS  75 

pearls  and  gold  buttons  is  in  keeping  with  the  magnificence 
of  the  robe  which  is  all  of  gold  brocade  damasked  with 
silver  with  a  border  of  rubies  and  emeralds.  Finally,  the 
sleeves  slashed  with  white  sown  with  pearls  support  the 
splendour  of  the  rest  of  the  costume,  the  principal  motive 
of  which  is  the  heavy  pendant  which  is  displayed  on  the 
breast  and  ends  with  an  enormous  fine  pear-shaped  pearl. 
Just  below,  the  tapering  hands  resting  on  something  un- 
seen, show  only  two  rings  and  look  modest  in  the  midst  of 
all  this  richness." — (S.  R.) 

Holbein's  famous  Portrait  of  Anne  of  Cleves 
in  her  purple  velvet  flashing  with  gems,  and  mas- 
sive bonnet  decorated  with  pearls'"  that  frames  her 
expressionless  face,  gained  for  this  noble  lady  a 
royal  husband.  In  1539,  Holbein  was  sent  to  Ger- 
many to  paint  her  likeness,  so  that  Henry  VIII. 
might,  if  pleased  with  her  appearance,  make  her  his 
queen.  Her  portrait  gave  too  flattering  an  impres- 
sion of  the  "  Flanders  Mare,"  who  was  soon 
divorced. 

"  The  Portrait  of  Anne  of  Cleves  by  Holbein  is  the  per- 
fection of  an  official  lie.  Yet  one  can  read  between  the 
lines  and  discover  something  of  the  truth.  The  first 
glance  at  this  picture  leaves  an  impression  almost  of 
charm ;  but  on  examining  it  certain  imperfections  unveil 
themselves  and  as  you  carry  the  examination  farther  the 
ugliness  appears.  But  what  skill,  what  innuendos,  and 
what  prodigious  cleverness  in  the  dissimulation.  In  order 
to  diminish  the  unattractiveness  of  his  model,  Holbein  has 
painted  it  smaller  than  life.  Anne  of  Cleves  is  standing, 
seen  full  face  and  in  complete  immobility.  Her  small  and 
beautifully  painted  hands  are  laden  with  rings  and  clasped. 
Owing  to  the  amplitude  and  magnificence  of  her  costume, 
the  truth  disappears  and  the  figure  grows  slighter  until  it 
seems  to  be  almost  delicate.  Anne  of  Cleves  in  her 
magnificent  and  rigid  costume  has  something  about  ner 
that  is  sacerdotal  and  quasi  archaic.  Thus  pompously 
dressed  she  looks  like  an  idol,  and  the  woman  has  entirely 
disappeared.  No  wonder  that  Henry  VIII.  was  taken  by 


76  THE   LOUVRE 

the  mirage.  Holbein's  genius  accomplished  a  transforma- 
tion."—(F.  A.  G.) 

Holbein's  other  portraits  are  magnificent.  There 
is  one  of  a  man  dressed  in  a  gown  lined  with  fur, 
holding  a  carnation  and  a  rosary;  another  of  Sir 
Richard  Southwell,  wearing  a  purple  velvet 
cloak  and  black  cap  with  a  cameo  set  in  gold,  re- 
markable for  its  vitality  and  minute  and  careful 
finish ;  an  Old  Man  in  a  large  black  cap  and  brown 
cloak,  holding  a  small  book  bound  in  red  velvet, 
striking  for  the  ugliness  of  the  model  with  his 
bulbous  nose  and  stern  expression;  Sir  Thomas 
More,  a  triumph  of  faultless  workmanship ;  Wil- 
liam Wareham,  Archbishop  of  Canterbury,  in 
which  the  mitre,  pastoral  staff  and  other  accessories 
are  painted  with  extraordinary  skill;  Erasmus, 
marvellously  life-like  as  he  sits  writing  in  profile 
with  a  diapered  curtain  for  a  background ;  and 
Nicholas  Kratzer,  astronomer  to  Henry  VIII. , 
treated  much  in  the  same  style  as  Georg  Gisze 
(Berlin)  Gallery.  In  Kratzer 

"the  features  are  admirably  modelled  (without  cast 
shadow)  in  warm  flesh  tones,  the  long  upper  lip  giving 
strong  individuality  to  the  expression.  A  black  gown, 
open  at  the  chest,  discloses  linen  delicately  embroidered 
with  black  thread  in  so  minute  a  pattern,  that  the  design 
can  scarcely  be  distinguished  without  a  magnifying  glass. 
The  rule,  compasses  and  scissors  laid  on  the  table  and  the 
mathematical  instruments  are  all  painted  with  elaborate 
care.  On  a  slip  of  paper  may  be  traced  a  Latin  inscrip- 
tion, which  includes  the  name  of  the  sitter  and  the  date, 
1528."— (C.  L.  E.) 

The  Madonna  and  Child  is  one  of  the  finest 
examples  of  John  Van  Eyck  in  existence. 

"  In  an  open  porch,  or  vestibule,  arcaded  on  three  sides 


ANNE  OF  CLEVES— Holbein 

LOUVBE 


CARDINAL  RICHELIEU— P.  de  Champaigne 

LOUVRE 


PARIS  77 

and  paved  with  marble  of  different  colours  arranged  in 
compartments,  the  Virgin  sits  on  the  right  hand,  clad  in  a 
long  mantle  of  dull  red,  the  border  of  which  is  embroidered 
with  gold  and  enriched  with  precious  stones.  Her  head  is 
uncovered  and  bound  with  a  fillet  from  which  the  hair 
falls  in  profusion  round  her  shoulders.  Her  eyes  are 
downcast  and  the  lips  firmly  compressed.  On  her  knees 
she  holds  the  Infant  Christ,  who  bears  in  his  left  hand  a 
crystal  globe  surmounted  by  a  gold  cross  decorated  with 
gems,  and  raises  His  right  hand  in  benediction  towards  the 
donor,  a  middle-aged  man  who  kneels  opposite  at  a  prie- 
dieu,  dressed  in  a  richly  brocaded  robe  trimmed  with  fur. 
Through  the  open  arches  in  the  background  is  seen  a 
garden  gay  with  lilies,  roses,  and  corn-flags,  terminating 
in  a  battlemented  terrace.  Peacocks  and  other  birds  are  in 
the  garden,  and  a  man  leaning  on  a  stick  stands  near  an- 
other figure  who  stoops  forward  to  look  through  one  of 
the  embrasures.  Beyond  the  garden  is  a  river  spanned  by 
a  bridge  and  studded  with  islands.  In  the  distance  is  a 
town  and  a  range  of  mountains  completes  the  landscape. 
Of  this  marvellous  picture  it  is  sufficient  to  say  that  for 
elaboration  and  almost  microscopic  finish  of  detail,  there  is 
nothing  so  remarkable  in  the  gallery." — (C.  L.  E.) 

St.    John    the    Baptist    and    Mary    Magdalen 

are  two  wings  of  a  triptych  by  Hans  Memling. 
Each  figure  is  about  twelve  inches  high  only,  and 
in  the  background  are  depicted  incidents  in  their 
lives. 

"  It  is  the  extraordinary  minute  finish  of  these  subjects 
and  the  delicate  beauty  of  the  landscape  by  which  they  are 
surrounded  which  invest  this  work  with  its  chief  interest. 
The  '  noli  me  tangere  '  group  does  not  occupy  a  square 
inch  of  space,  but  it  is  instinct  with  devotional  feeling." — 
(C.  L.  E.) 

Memling's  Marriage  of  St.  Catherine  is  also 
a  charming  composition.  The  Virgin  with  the 
Child  in  her  lap  is  seated  in  an  exquisite  landscape 
surrounded  by  six  female  saints.  St.  Catherine  sits 


78  THE   LOUVRE 

in  front  with  her  hand  on  a  book  holding  out  her 
finger  for  the  ring  which  Jesus  places  on  her  finger. 
St.  Agnes  with  her  lamb,  Cecilia  with  her  organ, 
St.  Lucia  with  her  dish  of  eyes,  St.  Margaret  with 
her  dragon,  and  either  Barbara  or  Bridget.  Three 
angels  in  the  sky  above  are  playing  instruments. 

Magnificent  in  colour  and  costume  is  Rubens's 
Thomyris  and  Cyrus.  The  Queen  is  on  her  throne 
surrounded  by  attendants  and  on  the  left  a  kneel- 
ing man  holds  the  head  of  Cyrus  above  a  vase  of 
copper.  There  are  six  principal  actors.  This  is 
one  of  the  most  brilliant  pictures  ever  painted,  even 
Paul  Veronese  pales  beside  it.  The  queen  in  white 
and  gold  and  ermine  with  her  feet  on  a  blue  cushion 
is  the  climax  of  light  and  brightness.  The  carpet 
that  covers  the  steps  of  the  throne,  the  draperies 
and  the  robes  of  the  other  figures  are  superb. 

"  The  expression  of  the  principal  faces  are  of  little  im- 
portance :  the  minor  personages  have  nothing  to  say. 
Thomyris  exhibits  a  somnolent  air  that  hardly  suits  her 
role.  Rubens  has  sacrificed  everything  to  brilliancy  of 
colour.  As  is  generally  the  case  with  the  works  of  his 
last  manner,  the  execution  is  more  important  than  the 
conception,  the  pictorial  qualities  than  the  drawing.  A 
warm  glow  overspreads  the  picture  and  illuminates  it  with 
a  soft  and  harmonious  light — a  fairy  light — which  leaves 
no  shadows  nor  coldness,  but  penetrates  everything  with 
its  brilliant  warmth  and  causes  reflections  to  play  every- 
where."—(M.  R.) 

The  Flight  of  Lot  is  entirely  by  the  hand  of 
Rubens,  and  is  a  masterpiece.  An  angel  with  out- 
spread wings  encourages  the  weeping  Lot  to  look 
ahead ;  his  wife,  grieving  for  Sodom,  looks  back, 
although  a  second  angel  pushes  her  onward.  The 
daughters  follow  with  an  ass  laden  with  silver  ves- 
sels ;  on  the  left  is  the  gate  through  which  the  party 


PARIS  79 

has  left  the  city,  and  above  in  the  sky  four  demons 
are  hurling  fire  upon  Sodom. 

"  The  little  picture  has  the  breadth  of  a  large  composi- 
tion ;  and  owing  to  the  action  which  animates  the  scene,  the 
illusion  of  a  procession  is  give'n.  The  expression  of  the 
chief  personages  is  very  successful  and  dramatic ;  the 
grief  of  Lot  and  his  wife  forms  a  contrast  to  the  indiffer- 
ence of  their  daughters,  bright  with  youth  and  exuberant 
in  health."— (  M.  R.) 

The  Rainbow,  by  Rubens,  is  a  landscape  simi- 
lar to  the  one  in  the  Hermitage,  but  differing  in 
some  details. 

Baron  Henri  de  Vicq,  with  black  hair  and  grey 
moustache  and  beard,  wearing  a  black  costume  and 
fluted  ruff,  is  a  fine  solid  head,  something  like 
Rubens's  own,  and  splendidly  painted.  The  back- 
ground is  red. 

Very  spirited  is  the  group  of  Rubens's  Wife 
and  her  Three  Children. 

"  The  individual  expression  of  the  faces  is  intelligently 
characterized  by  a  few  strokes  with  extraordinary  life  and 
freshness ;  Helena's  head,  especially,  is  softly  touched  in 
with  a  caressing,  liquid  brush,  as  is  also  her  breast,  which 
is  in  a  warm,  transparent  penumbra.  The  execution,  an 
exquisite  mixture  of  vague  forms  and  firm  touches,  reveals 
Rubens's  pleasure  in  painting,  and  is  a  sort  of  reflection  of 
the  domestic  happiness  which  he  still  enjoyed  in  his  rare 
moments  of  freedom  from  pain." — (E.  M.) 

Van  Dyck's  Virgin  and  Child  Jesus,  with 
Magdalen,  King  David  and  John  the  Baptist, 
shows  an  Italian  influence. 

"  The  purple  glow  of  the  setting  sun,  the  clear  and  amber 
tones  of  the  flesh,  and  the  warm  harmony  of  the  whole 
would  almost  lead  us  to  seek  the  painter  of  this  picture 
in  the  Venetian  School." — (J.  G.) 

Of  Van  Dyck's  many  portraits  of  Charles  I. 


8o  THE   LOUVRE 

the  one  here  in  which  he  stands  beside  his  horse 
in  a  wood  is  the  most  celebrated. 

"  It  is  a  splendid  piece  of  colouring.  The  King,  in  a 
white  satin  jacket,  red  hose  and  light  yellow  jack-boots, 
with  a  wide-brimmed  black  hat  on  his  long,  brown  hair, 
stands  out  against  a  piece  of  wooded  country,  sloping 
away  to  the  seacoast,  with  a  distant  view  of  the  sea  and 
a  sunny  sky  with  white  clouds.  The  horse,  a  grey,  is  re- 
lieved effectively  by  the  deep  brownish-green  of  the  forest 
trees  and  the  dull  red  of  the  groom's  dress.  'By  the  side 
of  the  groom,  and  partly  hidden  by  his  figure,  we  also  per- 
ceive a  page  who  carries  the  King's  short  cloak  of  light 
silk."— (H.  K.) 

Richardot,  President  of  the  Privy  Council  of 
the  Netherlands,  and  His  Little  Son,  a  work  of 
high  artistic  quality,  is  attributed  to  Van  Dyck 
and  also  to  Rubens. 

One  of  the  greatest  portraits  in  the  gallery  is 
Philippe  de  Champaigne's  Cardinal  Richelieu, 
which  Michelet  studied  and  from  which  he  drew 
his  impression  of  the  great  minister,  "  sphinx  in  a 
red  robe,"  that  "  phantom  with  grey  beard,  fixed 
grey  eyes,  and  delicate,  thin  hands." 

"  The  spectator  sees  in  that  head  with  its  broad  brow, 
burning  eyes,  long  straight  nose,  lips  compressed  beneath 
the  fine  moustache,  and  chin  pointed  by  the  goatee,  only 
genius,  will  and  sadness, — a  double  sadness  of  suffering 
without  respite  and  labour  without  rest.  The  walking  and 
gliding  attitude  is  of  unequalled  nobility;  the  gesture  of 
the  hand,  which  receives  and  commands,  is  an  observation 
of  genius.  The  arrangement  of  the  folds  of  the  red  robe 
crossed  by  the  white  rochet  and  the  blue  cord  of  the  Holy 
Spirit,  is  noble  and  simple.  The  whole  picture  is  a 
symphony  in  red,  where  the  sheen  of  the  silk  and  the 
heaviness  of  the  cloth  produce,  in  their  balanced  tonality, 
a  learned  and  simple  harmony.  Never  has  the  most  bril- 
liant and  pompous  of  colours  been  treated  with  a  more 
sober  and  masterly  strength." — (G.  L.) 

Among  the  seven  valuable  works  by  Jordaens, 


PARIS  81 

in  The  King  Drinks,  so  full  of  life  and  light,  we 
recognise  his  wife  and  others  dear  to  the  painter. 
The  Infancy  of  Jupiter,  in  which  a  woman  is 
milking  a  goat  while  Jupiter,  crying,  is  handing  her 
a  flagon,  is  one  of  Jordaens's  typical  mythological 
pictures  with  landscape  background.  A  satyr  with 
a  bunch  of  grapes  is  present. 

Peasant  Brueghel  has  two  panels  of  small  size 
but  of  great  importance,  depicting  a  Village  and 
Dance  of  Peasants.  They  are  finely  painted, 
carefully  drawn  and  they  illustrate  the  artist's  first 
manner. 

Among  the  several  works  of  Frans  Hals,  the  bril- 
liant gipsy  girl,  La  Bohemienne,  takes  the  first 
place. 

"  It  is  thinly  and  lightly,  but  firmly  painted,  with  a  very 
full  and  very  liquid  brush,  each  tone  brought  up  to  the 
other  and  overlapping;  but  set  there  once,  and  once  for  all, 
with  absolute  knowledge  and  certainty,  no  after-thoughts, 
no  changes,  no  happy  accidents.  It  is  all  seen  unerringly, 
touched  unerringly.  So  she  was,  for  that  hour  or  two, 
so  she  was  painted  for  that  hour  or  two,  and  so  she  was 
left.  And  it  has  all  that  delicious  freshness  and  charm 
which  belong  to  a  first  sketch  before  nature  of  a  great 
artist,  and  belong  to  that  alone." — (G.  S.  D.) 

Rembrandt  is  represented  in  the  Louvre  by  no 
less  than  twenty  works,  among  which  the  Carpen- 
ter's Household  is  very  famous,  particularly  on 
account  of  the  light  effects.  Among  the  portraits 
Hendrickje  Stoffels,  a  likeness  of  Rembrandt's 
housekeeper,  is  the  most  important  and  also  the  best 
of  the  many  pictures  he  made  of  her.  She  wears  a 
fur-trimmed  jacket,  a  green  velvet  cap  ornamented 
with  red  bows  and  ornate  earrings  with  long  pearl 
drops  splendidly  treated. 

"  The   shaded   lights,   the  chiaroscuro  of   the   neck,  the 


82  THE   LOUVRE 

white  tone  of  the  linen,  the  warm  and  transparent  bitu- 
men of  the  fur,  and  the  light  on  the  brow  and  nose  render 
this  portrait  an  unrivalled  painting." — (T.  G.) 

Dow's  Dropsical  Woman  is,  perhaps,  the  finest 
picture  he  ever  painted.  In  addition  to  his  usual 
perfection  of  execution,  we  here  find  also  real  and 
deep  feeling;  the  scene  is  touching,  and  the  com- 
position is  well  ordered. 

Jan  Steen's  Flemish  Feast  in  an  Inn  is  in 
this  painter's  typical  strain  of  jollity,  where  people 
are  variously  grouped,  eating,  drinking,  laughing 
and  dancing.  All  are  dressed  in  brilliant  costume. 

Ter  Borch's  Soldier  Offering  Gold  to  a  Girl 
hangs  close  to  Metsu's  Soldier  Receiving  a 
Young  Lady.  They  form  companion  pictures. 

"  They  are  the  two  marvels,  the  two  gems  of  conversa- 
tion painting.  The  former  is  a  masterpiece  of  execution ; 
and  the  greatest  punishment  that  could  be  inflicted  on  an 
amateur  would  be  to  make  him  choose  between  the  two 
pictures.  In  its  own  way,  each  is  the  last  word  of  art." 
-(C.  B.) 

Of  the  six  landscapes  by  Ruysdael,  Le  Buisson 
is  particularly  celebrated.  On  the  right  is  a  steep 
sandy  road  bordered  with  trees  on  which  a  peasant 
is  walking  away  from  the  spectator,  accompanied 
by  three  dogs.  On  the  summit  of  a  hill  is  the  roof 
of  a  cottage;  on  the  left  are  meadows;  in  the  dis- 
tance a  village ;  and  on  the  left  in  the  foreground,  a 
thicket  which  gives  its  name  to  the  canvas.  The 
sky  is  cloudy. 

A  remarkable  series  of  small  panels  depicting 
the  Life  of  St.  Bruno,  by  Le  Sueur,  repays  care- 
ful scrutiny  to  appreciate  their  beautifully  treated 
details.  His  greatest  work,  however,  is  the  Vision 
of  St.  Scholastica  to  St.  Benoit,  her  brother: 

"  St.  Benoit  is  one  of  the  masterpieces  of  religious  paint- 


PARIS  83 

ing.  Look  how  the  body  of  the  monk  in  the  ample  robe 
of  the  Benedictines  assumes  magnificent  proportions  and 
look  at  the  grandeur  of  his  gesture.  What  a  divine  ex- 
pression shines  from  his  ascetic  face !  Never  has  ecstasy 
been  carried  further.  Never  has  the  invisible  been  made 
visible  with  more  success.  Never  has  there  been  expressed 
in  the  human  countenance  such  an  avidity  for  things 
eternal."— (F.  A.  G.) 

Of  Jouvenet's  thirteen  works,  including  his  own 
portrait,  the  Descent  from  the  Cross  is  his  mas- 
terpiece. It  is  composed  with  great  harmony  and 
lighted  with  such  fine  effect  that  the  figures  stand 
out  in  splendid  relief.  The  Miraculous  Draught 
of  Fishes  is  a  masterly  drawing,  and  the  figures 
also  stand  out  in  bold  relief, — one  of  the  special 
qualities  of  this  painter. 

Poussin's  forty  works  show  the  great  French 
painter  in  every  mood  and  style.  The  Bergers 
d'Arcadie  is  very  characteristic.  Here  three  shep- 
herds and  a  young  girl  are  reading  from  an  ancient 
tombstone  the  words  Et  in  Arcadia  Ego.  The 
landscape  is  beautiful,  the  picture  full  of  charm  and 
a  perfect  illustration  of  Meleager's  famous  line. 
Another  famous  work  is  St.  Francis  Xavier  Re- 
suscitating a  Young  Girl,  depicting  the  saint 
and  his  companion,  Jean  Fernandez,  in  prayer  at 
the  girl's  bedside,  with  two  sorrowing  women  and 
Indians  amazed  at  the  miracle,  and  Christ  and 
two  angels  appearing  in  the  upper  part  of  the  pic- 
ture. Of  equal  celebrity  is  Diogenes  throwing 
away  his  Porringer,  an  incident  in  a  large  aca- 
demic landscape  with  Athens  in  the  distance. 

Of  the  sixteen  typical  examples  of  Claude  Lor- 
rain  there  is  a  beautiful  Sea-port  at  Sunset, 
which  should  be  noticed  for  its  glowing  orange, 
pink  and  yellow  light.  Also  remarkable  for  its 


84  THE   LOUVRE 

beautiful  effects  of  light  is  Ulysses  Returning 
Chryseis  to  Her  Father,  which  is  but  an  excuse 
for  a  sea-port  with  the  Temple  of  Apollo  in  the 
distance.  The  High  Priest  is  receiving  his  daughter 
from  Ulysses  in  the  presence  of  a  large  crowd. 

Cleopatra  Landing  at  Tarsus  is  another  lovely 
harbour  scene,  where  Cleopatra  on  the  arm  of  Del- 
lius  and  accompanied  by  six  women  is  about  to 
land  on  the  steps  of  a  palace.  Antony,  followed  by 
his  soldiers,  advances  to  meet  her.  On  the  left, 
two  richly  dressed  boats  ride  at  anchor  and  to 
which  small  boats  are  hastening  to  unload  them. 
The  setting  sun  illumines  the  scene  and  casts  beau- 
tiful reflections  on  the  waves  ruffled  by  the  breeze. 

Another  great  work  is  the  View  of  Campo  Vac- 
cino,  Rome,  with  the  arch  of  Septimus  Severus 
and  the  colonnade  of  the  temple  of  Antoninus  on 
the  left;  the  Capitol  in  the  background;  the  Portico 
of  the  temple  of  the  Concord  and  the  columns  of 
Jupiter  Sator  farther  back  on  the  left;  and  many 
people  in  the  foreground  and  in  the  Forum. 

Among  Mignard's  nine  works,  including  his 
own  portrait  and  one  of  Madame  de  Maintenon, 
the  Virgin  with  the  Grapes  is  the  most  celebrated. 
It  is  a  charming  picture  of  maternal  tenderness. 
Seated  in  an  arm-chair,  the  Madonna  offers  the 
Child  a  bunch  of  grapes.  A  basket  of  fruit  on  the 
neighbouring  table  is  beautifully  painted. 

There  are  twenty-three  works  by  Le  Brun — reli- 
gious, historical,  mythological  and  portraits,  in- 
cluding one  of  himself  in  his  youth.  The  Battle 
of  Arbela  is  characteristic,  showing  Alexander  on 
horseback  and  Darius  in  a  chariot  drawing  his  bow, 
the  Persian  army  with  its  elephants,  and  a  heap  of 
corpses  in  the  foreground. 


PARIS  85 

The  Repentant  Magdalen,  by  Le  Brun,  seated 
before  a  mirror  weeping  and  rending  her  garments, 
with  a  halo  around  her  head  and  a  casket  of  jewels 
at  her  feet,  enjoys  a  great  celebrity,  largely  owing 
to  the  fact  that  the  saint  is  none  other  than 
Madame  La  Valliere. 

"  What  perfect  drawing !  What  a  noble  and  pathetic 
expression  of  the  beautiful  penitent!  What  beautiful 
draperies,  arranged  with  such  art  and  taste !  What  gentle 
harmony !  And  what  a  prodigious  effect  of  the  whole !  " 
—(A.  de  F.) 

Among  the  portraits  of  the  period  we  note 
Nicholas  Poussin,  painted  by  himself,  represented 
in  his  studio  holding  a  design  in  his  hand ;  Rigaud's 
Bossuet,  in  a  robe  of  blue  watered  silk,  white  sur- 
plice trimmed  with  lace  and  ermine  cape,  and  also 
two  of  Madame  Le  Brun  and  her  Daughter, 
painted  by  herself. 

"  Although  she  did  not  die  until  March  30,  1842,  she 
remains  in  French  art  the  portrait  painter  par  excellence 
of  the  Court  of  Marie  Antoinette.  When  she  suddenly 
left  France  at  the  first  rumblings  of  the  Revolution,  terror- 
stricken  before  the  Reign  of  Terror,  it  might  be  said  that 
her  work  was  accomplished.  Her  truly  important  por- 
traits belong  to  her  youth.  If  we  want  to  catch  in  one 
attitude  and  look  the  moral  reflection  of  a  period,  or  to 
divine  the  thoughts  or  dreams  hatched  under  the  compli- 
cated head-dresses  of  the  great  ladies  who  sheltered  behind 
transparent  fichus  of  linen  sentimental  and  light  hearts,  it 
is  Madame  Vigee  Le  Brun  to  whom  we  must  go." — 
(A.  M.) 

Perhaps  the  greatest  work  of  this  talented  woman 
was  achieved  in  her  dashing  Mademoiselle  Mole 
Reymond,  of  the  Comedie-Francaise. 

"  She  wears  a  large  blue  hat  and  apron,  picturesque  and 
charming  in  themselves,  but  somewhat  out  of  key  with  the 


86  THE   LOUVRE 

pure-coloured  dress.  She  carries  a  huge  brown  muff, 
probably  the  biggest  that  ever  figured  on  canvas.  It  is  a 
merry-looking  face,  full  of  health  and  happiness.  The 
painting  is  admirable  in  execution,  reminding  one  in  cer- 
tain qualities  of  Gainsborough — but  more  finished  and 
even  in  impasto." — (C.  L.  E.) 

We  turn  with  delight  to  the  French  masters  of 
the  Eighteenth  Century.  Here  *  Watteau,  Lancret 
and  Pater  invite  us  to  green  swards  and  leafy  parks, 
and  lift  the  curtain  upon  happy  groups  swinging, 
skating,  dancing,  bathing,  dressing,  or  embarking 
for  isles  of  fancy;  they  introduce  us  to  Gilles, Scar- 
pin,  Harlequin  and  the  other  members  of  the  Italian 
Comedy;  Boucher  and  Fragonard  charm  our  eyes 
with  their  nymphs,  loves,  bathers,  shepherds  and 
shepherdesses,  gods  and  goddesses,  and  young  men 
and  maidens  in  scenes  of  frolic  or  fantasy;  Nattier 
and  Greuze  show  us  living  personages;  and  Char- 
din,  Oudry  and  Desportes,  domestic  scenes,  still 
life,  hunts  and  fruits  and  flowers.  Among  the 
most  characterictic  works  are  Watteau's  Em- 
barkment  for  Cythera;  Lancret's  Actors  of  the 
Italian  Comedy;  Pater's  Bathers;  Boucher's 
Three  Graces,  Nest,  Breakfast,  Vulcan  present- 
ing Venus  with  Arms  for  Aeneas,  and  the  Girl 
with  the  Muff;  Fragonard's  Coresus  and  Calli- 
rhoe;  and  L'Etude,  the  Portrait  of  a  Young 
Woman ;  Nattier's  Portraits  of  Madame  Adelaide 
and  of  Daughter  of  Louis  XV.  as  a  Vestal; 
Greuze's  La  Laitiere,  La  Cruche  Cassee,  and 
1'Accordee  du  Village;  Oudry's  Blanche,  a  dog 
of  Louis  X V.'s  pack,  and  Still  Life ;  and  Dog  and 
Two  Partridges  and  Dog  Guarding  Game,  by 
Desportes. 

Diderot  thought  Greuze  appeared  at  his  best  in 


GILLES— Watteau 

LOUVRE 


LA  CRUCHE  CASSEE— Greuse 

LOUVRE 


PARIS  87 

1'Accordee  du  Village,  honoured  him  as  a  man  of 
mind  and  taste,  delicacy  and  skill.  The  episode  re- 
quires no  explanation  if  the  original  title — A 
Father  Paying  the  Dowry  of  his  Daughter — 
be  remembered.  The  scene  is  laid  in  a  simple 
village  house  where  the  chickens  feed  upon  the 
floor  and  the  whole  family  has  assembled.  The 
contract  has  been  drawn  up  by  the  notary,  who  is 
still  seated  at  the  table  opposite  the  old  father,  who 
is  giving  the  bag  of  money  to  his  future  son-in- 
law.  The  bride  and  her  younger  sister,  who  is 
leaning  her  head  upon  her  shoulder,  are  painted 
with  Greuze's  characteristic  freshness. 

La  Cruche  Cassee  is  of  delicate  colour  and 
beauty. 

"  Greuze  has  a  very  individual  talent  for  painting  woman 
in  her  first  bloom,  when  the  bud  is  about  to  burst  into  the 
rose  and  the  child  is  about  to  become  a  maiden.  As  in  the 
Eighteenth  Century  all  the  world  was  somewhat  libertine, 
even  the  moralist,  Greuze,  when  he  painted  an  Innocence, 
always  took  pains  to  open  the  gauze  and  give  a  glimpse  of 
the  curve  of  the  swelling  bosom;  he  puts  into  the  eyes  a 
fiery  lustre  and  upon  the  lips  a  dewy  smile  that  suggests 
the  idea  that  Innocence  might  very  easily  become  Voluptu- 
ousness. 

"  La  Cruche  Cassee  is  the  model  of  this  genre.  The 
head  has  still  the  innocence  of  childhood,  but  the  fichu  is 
disarranged,  the  rose  at  the  corsage  is  dropping  its  leaves, 
the  flowers  are  only  half  held  in  the  fold  of  the  gown  and 
the  jug  allows  the  water  to  escape  through  its  fissure." — 
(T.  G.) 

La  Laitiere  is  worthy  to  rank  with  the  above. 
The  painter  attains  perfection  in  it.  The  aristo- 
cratic milkmaid,  leaning  in  graceful  attitude  upon 
her  horse's  neck  and  holding  a  measure  in  her  right 
hand,  looks  at  the  spectator  with  a  dewy  smile  and 


88  THE   LOUVRE 

reminds  one  of  the  dairy-maids  of  Trianon,  or  a 
lovely  village  belle  of  an  opera  comique  waiting, 
perhaps,  for  her  lover. 

All  of  Watteau's  genius  and  charm  is  embodied 
in  the  glowing  yet  delicate  picture  of  pleasure,  the 
Embarkment  for  Cythera. 

"  Observe  all  that  ground  lightly  coated  with  a  trans- 
parent and  golden  varnish,  all  that  ground  covered  with 
rapid  strokes  of  the  brush  lightly  laid  on  with  a  delicate 
touch.  Notice  that  green  of  the  trees  shot  through  with 
red  tones,  penetrated  with  quivering  air,  and  the  vaporous 
light  of  autumn.  Notice  the  delicate  water-colour  effect 
of  thick  oil,  the  general  smoothness  of  the  canvas,  the 
relief  of  this  pouch  or  hood ;  notice  the  full  modelling  of 
the  little  faces  with  their  glances  in  the  confused  outlines 
of  the  eye  and  their  smiles  in  the  suggested  outlines  of  the 
mouth.  The  beautiful  and  flowing  sweep  of  the  brush 
'over  those  decolletages,  the  bare  flesh  glowing  with 
voluptuous  rose  among  the  shadows  of  the  wood !  The 
pretty  crossings  of  the  brush  to  round  a  neck !  The  beau- 
tiful undulating  folds  with  soft  breaks  like  those  which  the 
modeller  makes  in  the  clay!  And  the  spirit  and  the  gal- 
lantry of  touch  of  Watteau's  brush  in  the  feminine  trifles 
and  headdresses  and  finger-tips, — and  everything  it  ap- 
proaches !  And  the  harmony  of  those  sunlit  distances, 
those  mountains  of  rosy  snow,  those  waters  of  verdurous 
reflections ;  and  again  those  rays  of  sunlight  falling  upon 
robes  of  rose  and  yellow,  mauve  petticoats,  blue  mantles, 
shot-coloured  vests,  and  little  white  dogs  with  fiery  spots. 
For  no  painter  has  equalled  Watteau  in  rendering  beauti- 
fully coloured  objects  transfigured  by  a  ray  of  sunlight, 
their  soft  fading  and  that  kind  of  diffused  blossoming  of 
their  brilliancy  under  the  full  light.  Let  your  eyes  rest 
for  a  moment  on  that  band  of  pilgrims  of  both  sexes 
hurrying,  beneath  the  setting  sun,  towards  the  galley  of 
Love  that  is  about  to  set  sail :  there  is  the  joyousness  of 
the  most  adorable  colours  in  the  world  surprised  in  a  ray 
of  the  sun,  and  all  that  haze  and  tender  silk  in  the  radiant 
shower  involuntarily  remind  you  of  those  brilliant  insects 
that  we  find  dead,  but  with  still  living  colours,  in  the 


PARIS  89 

golden   glow   of  a   piece  of   amber.     This   picture   is  the 
wonder  of  wonders  of  this  master." — (E.  and  J.  de  G.) 

Coresus  and  Callirhoe  is  Fragonard's  great 
tragic  composition. 

"  A  painting  of  the  opera,  and  demanding  from  the 
opera  its  soul  and  its  light.  But  what  a  magnificent  illu- 
sion this  picture  presents !  It  must  be  seen  in  the  Louvre 
so  that  the  eyes  may  feast  upon  the  clear  and  warm 
splendour  of  the  canvas,  the  milky  radiance  of  all  those 
white  priestly  robes,  the  virginal  light  inundating  the  centre 
of  the  scene,  palpitating  and  dying  away  on  Callirhoe,  en- 
veloping her  fainting  body  like  the  fading  of  day,  and 
caressing  that  failing  throat.  The  rays  of  light  and  the 
smoke  all  melt  into  one  another ;  the  temple  smokes  and 
the  mists  of  incense  ascend  everywhere.  Night  is  rolling 
above  the  day.  The  sun  falls  into  the  gloom  and  casts  a 
reflected  glare.  The  gleams  of  sulphur  flames  illuminate 
the  faces  and  the  throng.  Fragonard  lavishly  threw  the 
lights  of  fairyland  upon  his  masterpieces:  it  is  Rembrandt 
combined  with  Ruggieri. 

"  And  what  movement,  what  action  are  in  this  agitated 
and  convulsive  painting !  The  clouds  and  the  garments 
whirl,  the  gestures  are  rapid,  the  attitudes  are  despairing, 
horror  shudders  in  every  pose  and  on  every  lip,  and  a 
great  mute  cry  seems  to  rise  throughout  this  entire  temple 
and  throughout  this  entire  lyrical  composition. 

"  This  cry  of  a  picture,  so  new  for  the  Eighteenth  Cen- 
tury, is  Passion.  Fragonard  introduces  it  into  his  time  in 
this  picture  so  full  of  tragic  tenderness  where  we  might 
fancy  the  entombment  of  Iphigenia.  The  phantasmagoria 
raises  his  art  to  the  level  of  the  emotion  of  the  Alceste  of 
Euripides ;  it  reveals  a  future  for  French  painting :  pathos." 
— (E.  and  J.  de  G.) 

The  Grace  (Le  Benedicite)  is  one  of  Chardin's 
most  popular  works.  It  attained  instant  success 
and  the  artist  made  several  versions  of  it.  The 
young  mother  in  brown  dress,  blue  apron  and  white 
cap  and  kerchief  is  serving  soup  to  two  little  girls, 


90  THE   LOUVRE 

one  of  whom  is  folding  her  hands  and  trying  to 
remember  the  words  of  the  grace  which  she  must 
repeat  before  she  can  have  her  soup. 

"  Charming  in  its  composition,  simplicity,  and  expres- 
sion Chardin's  Grace  is  even  more  admirable  owing  to  its 
freedom  of  touch,  the  perfect  harmony  of  its  colouring  and 
its  delicacy  of  light  and  shade." — (G.  L.) 

La  Pourvoyeuse  is  an  exquisite  study  of  colour. 
The  housekeeper  in  a  striped  petticoat,  lavender 
apron,  and  white  cap  and  bodice  has  just  returned 
from  market  with  a  leg  of  mutton  and  some  loaves 
of  bread.  In  the  background,  a  servant  is  stand- 
ing in  a  yellow  dress,  white  cap  and  bodice. 

"  So  beautifully  harmonious  is  the  colouring,  so  broad 
and  free  the  way  it  is  painted,  and  so  luminous  the  atmos- 
phere, that  words  can  give  no  idea  of  its  charm." — (H. 
de  C.) 

Among  the  still-life  pictures  look  at  Grapes  and 
Pomegranates,  in  which  grapes,  pomegranates, 
two  apples,  a  pear,  two  wine-glasses  and  a  knife 
are  arranged  around  a  coffee-pot  of  flowered  china. 

"  See  how  effective,  how  true  to  nature,  are  those  grapes, 
just  a  little  bit  bruised — perhaps,  too,  a  little  over-ripe! 
And  how  perfectly  the  luscious  purple  centre  of  that  open 
pomegranate  accords  with  the  red  wine  in  the  glasses ! 
The  key  of  colour,  enhanced  by  the  light  reflected  in  the 
various  objects,  is  clear,  and  the  whole  effect  of  the  picture 
bright  and  gay." — (H.  de  C.) 

The  best  of  all  the  many  portraits  of  Madame 
de  Pompadour  is  the  pastel  by  La  Tour.  It  is  not 
only  a  remarkable  representation  of  personality,  but 
is  a  beautiful  study  in  colour.  All  the  details  of 
the  scene  are  finely  treated. 

"  But  it  is  the  person  herself  who  is  in  every  respect 
marvellous  in  her  extreme  delicacy,  gracious  dignity,  and 


PARIS  91 

exquisite  beauty.  Holding  her  music-book  in  her  hand 
lightly  and  carelessly,  her  attention  is  suddenly  called 
away  from  it;  she  seems  to  have  heard  a  noise  and  turns 
her  head.  Is  it  indeed  the  King  who  has  arrived  and  is 
about  to  enter?  She  seems  to  be  expecting  him  with  cer- 
tainty and  to  be  listening  with  a  smile.  Her  head,  thus 
turned  aside,  reveals  the  outline  of  the  neck  in  all  its  grace, 
and  her  very  short  but  deliciously-waved  hair  is  arranged 
in  rows  of  little  curls,  the  blonde  tint  of  which  may  be 
divined  beneath  the  slight  covering  of  powder.  The  head 
stands  out  against  a  light-blue  background,  which  in  gen- 
eral dominates  the  whole  picture.  Everything  satisfies  and 
delights  the  eye;  it  is  a  melody,  perhaps,  rather  than  a 
harmony.  A  bluish  light,  sifting  downwards,  falls  across 
every  object.  There  is  nothing  in  this  enchanted  .boudoir 
which  does  not  seem  to  pay  court  to  the  goddess, — nothing, 
not  even  L'Esprit  des  Lois  and  L'Encyclopedie.  The 
flowered  satin  robe  makes  way  along  the  undulations  of 
the  breast  for  several  rows  of  those  bows,  which  were 
called,  I  believe,  parfaits  contentements,  and  which  are  of 
a  very  pale  lilac.  Her  own  flesh-tints  and  complexion  are 
of  a  white  lilac,  delicately  azured.  That  breast,  those 
ribbons,  and  that  robe — all  blend  together  harmoniously 
or  rather  lovingly.  Beauty  shines  in  all  its  brilliance  and 
in  full  bloom."— (C.  A.  S-B.) 

Gerard's  Cupid  and  Psyche  represents  an  inter- 
esting phase  in  French  art. 

"  The  painter  has  succeeded  in  investing  it  with  a  neo- 
classic  grace  which  is  both  delicate  and  refined,  a  remark- 
able achievement  considering  the  subject,  the  date  and  the 
nationality  of  the  work.  Both  faces  are  very  beautiful, 
that  of  Psyche  is  a  model  of  maiden  purity  and  innocence, 
and  the  drapery  is  painted  with  extraordinary  care  and 
finish."— (C.  L.  E.) 

David's  Sabines  and  Leonidas  at  Thermopylae 

enjoy  great  fame.  They  are  excellent  examples 
of  the  style  of  this  painter. 

"  One  of  the  most  pretentious  and  foolish  of  David's  in- 
ventions. The  attitude  of  Tatius  can  only  be  compared  to 


92  THE   LOUVRE 

those  which  used  to  be  designed  for  the  cardboard  char- 
acters in  a  toy  theatre.  It  requires  some  knowledge  of 
the  usages  of  ancient  Roman  warfare  to  justify  the  appar- 
ent absurdity  of  representing  Romulus  rushing  into  battle 
with  nothing  on  but  a  helmet.  But  his  naked  form  af- 
forded an  opportunity  of  displaying  the  artist's  dexterity 
in  painting  the  human  figure  larger  than  life;  and  it  can- 
not be  denied  that  every  limb  is  drawn  and  shaded  with 
anatomical  correctness.  The  draperies  are  studied  with 
equal  care,  but  there  is  very  little  of  them. 

"  Leonidas  is  painted  on  exactly  the  same  plan  and  with 
the  same  disregard  of  colour.  There  are  acres  of  canvas 
covered  with  similar  designs  in  the  Louvre ;  they  display 
a  vast  amount  of  industry  and,  in  some  instances,  of  tech- 
nical skill,  but  are  utterly  deficient  in  the  most  essential 
elements  of  pictorial  grace." — (C.  L.  E.) 

The  Oath  of  the  Horatii  and  Paris  and  Helen 
are  also  typical  works  of  this  painter. 
More  pleasing  is  his  Madame  Recamier. 

"  Nothing  could  be  more  simple  and  dignified  than  this 
reclining  figure.  The  plain  white  dress,  absolutely  without 
even  a  ribbon  on  it,  is  sufficiently  relieved  by  the  yellow 
and  grey  of  the  couch.  There  is,  perhaps,  too  much  ex- 
panse of  emptiness  in  the  background ;  but  this  tends  to 
concentrate  interest  on  the  figure.  In  technical  quality 
of  execution  it  bears  some  resemblance  to  a  large  water- 
colour  drawing." — (C.  L.  E.) 

Guerin's  Aeneas  Relating  to  Dido  the  Fate  of 
Troy,  with  figures  larger  than  life,  is  much  in  the 
style  of  David. 

Alexander  Roslin's  Young  Girl  Decorating  a 
Statue  of  Love  with  a  Garland  of  Flowers  is 
notable  for  her  graceful  attitude  and  her  lustrous 
white  satin  dress. 

Prud'hon's  Crime  Pursued  by  Justice,  a  wild 
rocky  scene  lighted  by  the  moon  where  the  mur- 
derer and  his  victim  are  alone  and  Vengeance  with 


PARIS  93 

her  flaming  sword  and  Justice  with  her  scales  are 
approaching,  has  its  admirers. 

"  I  know  of  nothing  more  beautiful,  nor  more  in  the 
'  grand  style  '  in  any  school  than  these  two  goddesses  that 
glide  so  proudly  and  calmly  through  the  blue  air  of 
night,  and  nothing  more  dramatic  and  sinister  than  the 
silhouette  of  the  assassin  or  more  touching  than  his  vic- 
tim."—(T.  G.) 

Gericault's  enormous  Raft  of  the  Medusa  per- 
petrates a  terrible  catastrophe.  The  frigate 
Medusa,  with  three  other  vessels,  sailed  from 
France  on  June  17,  1816,  having  on  board  the  gov- 
ernor of  St.  Louis  (Senegal)  and  about  four  hun- 
dred others.  On  July  2  she  ran  aground;  and, 
after  vain  attempts  to  float  her,  one  hundred  and 
forty-five  of  the  crew  and  passengers  were  set 
adrift  on  a  raft  Fifteen  were  rescued  in  a  dying 
state  by  the  Argus,  after  twelve  days  of  suffering. 

"  This  is  an  enormous  picture  of  an  inexpressibly  pain- 
ful subject.  It  is  impossible  to  judge  of  such  a  work  by 
any  recognized  standard  of  artistic  criticism.  The  colossal 
figures  are  grouped  after  a  melodramatic  fashion." — 
(C.  L.  E.) 

Gericault's  Wounded  Cuirassier  Quitting  Battle 
is  also  a  famous  work. 

Of  Gros  the  most  celebrated  works  are  Napo- 
leon Visiting  the  Battlefield  of  Eylau,  on  his 
light  brown  horse,  and  The  Plague  at  Jaffa, 
which  was  crowned  at  the  Salon  of  1804. 

"  Gros  has  placed  the  scene  under  the  picturesque 
arcade  of  an  Asiatic  edifice,  through  which  we  see  the  town 
rising  in  the  form  of  an  amphitheatre  and  a  glimpse  of  the 
sea.  This  sacrifice  was  necessary  in  order  to  concentrate 
the  interest  on  the  group  where  Bonaparte  touches  the 
breast  of  a  victim  with  his  hand.  Moreover,  the  youth  of 
the  general,  his  handsome  appearance,  his  gentleness  and 


94  THE   LOUVRE 

the  noble  serenity  of  his  face  all  show  the  hero,  all  call 
for  admiration.  Around  him  everyone  moves  away  or 
shows  terror.  Bessieres  is  covering  his  mouth  with  his 
handkerchief,  Desgenettes  himself  is  anxious  over  the 
danger  that  menaces  the  General;  but  the  latter  alone  is 
calm,  noble,  charitable,  without  affectation  and  without 
fear.  How  simple  and  natural  is  that  gesture  of  the  ill 
man  who  involuntarily  lifts  his  hand  to  his  head  to  salute 
the  illustrious  visitor!  And  what  contrasts  strike  the 
eye!  Here  we  see  handsome  Arabs  with  calm  faces  dis- 
tributing food  or  solacing  the  dying;  there  the  famished, 
sick,  or  desperate  that  are  seen  in  the  shadows  and  depths 
of  the  picture  remind  me  of  the  damned  of  Michael  An- 
gelo."— (C.  B.) 


FRAGONARD'S  PORTRAIT  OF  HIMSELF 

LOUVRE 


PALAIS  DES  BEAUX-ARTS 
BRUSSELS 

The  Musee  Royal  de  Peinture  Ancienne  et 
de  Sculpture  is  housed  in  the  Palais  des  Beaux- 
Arts,  built  in  1875-1881.  The  gallery  of  Old  Pic- 
tures was  purchased  from  the  city  by  the  state  in 
1845,  and  numbers  about  600  works.  The  wealth 
of  the  gallery  consists  chiefly  in  the  works  of  the 
early  Flemish  masters.  Rubens,  Snyders  and  Jor- 
daens  are  particularly  well  represented. 

Van  Eyck's  two  panels  of  Adam  and  Eve  be- 
longed to  the  Adoration  of  the  Lamb.  Both  are 
nude,  full-length  figures,  and  stand  in  niches  above 
which  are  represented  in  grisaille,  the  Sacrifice 
of  Cain  and  Abel  and  the  Murder  of  Abel. 

"  Upon  the  naked  figure  of  Eve  the  painter  seems  to 
have  concentrated  all  his  knowledge  of  perspective  as 
applied  to  the  human  form  and  its  anatomical  development. 
It  would  be  too  much  to  say  that  Hubert  rises  to  the  con- 
ception of  an  ideal  of  beauty.  The  head  is  over  large,  the 
body  protrudes,  and  the  legs  are  spare,  but  the  mechanism 
of  the  limbs  and  the  shape  of  the  extremities  are  rendered 
with  truth  and  delicacy,  and  there  is  much  power  in  the 
colouring  of  the  flesh.  Counterpart  to  Eve,  and  once  on 
the  left  side  of  the  picture,  Adam  is  equally  remarkable 
for  correctness  of  proportion  and  natural  realism.  Here 
again  the  master's  science  in  optical  perspective  is  con- 
spicuous, and  the  height  of  the  figure  above  the  eye  is  fitly 
considered." — (C.  and  C.) 

The  Adoration  of  the  Magi,  so  precious  that 
it  is  sheltered  under  glass,  is  given  by  the  catalogue 
to  John  Van  Eyck. 

"  Nevertheless  it  is  by  Herri  de  files.  It  differs  notably 
95 


96  PALAIS   DES   BEAUX-ARTS 

from  Van  Eyck's  style,  and,  to  speak  plainly,  it  is  superior 
to  anything  he  ever  did ;  it  is  even  superior  to  Memling's 
productions.  The  drawing  is  freer,  the  execution  easier, 
the  colour  more  intense  and  harmonious,  the  gestures  and 
movements  more  natural  than  in  the  panels  of  Van  Eyck 
and  Memling.  This  admirable  composition  evidently  de- 
notes a  progress  in  painting  and  manifests  a  more  ad- 
vanced art.  No  other  Fifteenth  Century  master  attained 
that  profound  strength  in  the  shadows,  that  marvellous 
opulence  in  the  half-tones,  and  that  soft  sweetness  in  the 
general  aspect." — (A.  M.) 

A  small  Pieta,  by  Roger  Van  der  Weyden,  is 
remarkable  for  the  grouping  of  the  figures  and  the 
atmospheric  effects.  The  Cross  stands  out  boldly 
against  the  sky  glowing  with  sunset  hues.  The  ex- 
pression of  poignant  grief,  natural  emotion  and 
human  sympathy  in  the  Holy  Woman  and  the  Be- 
loved Disciple  is  remarkably  life-like  and  sym- 
pathetic. 

The  Head  of  a  Weeping  Woman,  in  grey  robe, 
red  mantle,  and  white  hood,  who  is  wiping  her  eyes 
with  her  right  hand,  appears  in  many  of  Roger's 
pictures,  where  she  is  seen  weeping  by  the  side  of 
St.  John  and  hiding  half  of  her  face  with  her  neck- 
erchief as  she  contemplates  the  body  of  the  Crucified 
Christ. 

"  This  head  is  a  resume  of  the  dramatic  genius  of  Roger 
van  der  Weyden,  and  of  his  extraordinary  power  of  ex- 
pression."— (F-G.) 

To  Roger  Van  der  Weyden  is  attributed 
Charles  the  Bold.  He  wears  a  black  doublet,  red 
cap,  the  order  of  the  Golden  Fleece  around  his 
neck,  and  holds  an  arrow  in  his  hand.  The  work 
has  also  been  given  to  Hugo  Van  der  Goes. 

"  The  portrait  is  of  the  first  order— its  slightly  yellowish 


BRUSSELS  97 

flesh-tints  stand  out  with  extreme  delicacy  from  the  blue 
background."— (F-G.) 

Two  pictures  by  Thierry  Bouts  depict  the 
Legend  of  Otho  III. 

"  A  great  mind  has  conceived  the  whole ;  true  feelings 
pervade  each  scene;  types  of  absolute  verity  are  immortal- 
ised; and  the  entire  physiognomy  of  a  whole  century  is 
epitomised. 

"  In  the  first  picture,  the  Emperor  Otho,  at  the 
instigation  of  his  wife,  has  an  innocent  gentleman  de- 
capitated. Behind  the  wall  that  encloses  their  domain,  the 
accuser  and  her  husband  are  present  at  the  execution. 
The  Emperor  finds  it  necessary  to  listen  to  his  wife  to  be 
convinced  of  the  condemned  one's  guilt,  but  is  tormented 
by  doubt ;  the  Empress  tries  to  dissipate  his  doubts  and 
watches  his  face  to  see  the  effect  of  her  lies.  The  gentle- 
man walks  firmly  to  his  death.  He  turns  from  the  Queen, 
whose  love  he  has  repulsed,  and  who  has  denounced  him 
in  consequence,  and  exhorts  his  wife  to  support  this  trial 
courageously.  A  Franciscan  monk  accompanies  them  and 
seems  more  moved  than  the  victim.  The  work  of  the 
executioner  is,  however,  accomplished.  In  the  centre  of 
the  picture  stands  the  executioner — the  head  of  the  gentle- 
man is  placed  on  a  piece  of  mortuary  linen  as  if  all  suffer- 
ing was  ended,  while  the  widow's  face  shows  that  a  firm 
resignation  has  taken  the  place  of  tears  and  sobs.  Thus 
the  motive  of  the  second  picture  is  announced  in  the  chief 
episode  of  the  first. 

"  In  the  second  panel,  the  widow  submits  to  the  ordeal 
by  red-hot  iron  to  prove  the  innocence  of  her  husband. 
To  make  amends  for  his  unjust  sentence,  Otho  condemns 
the  Empress  to  the  stake.  The  irresolute  but  good  Em- 
peror, full  of  remorse  forms  a  contrast  to  the  energetic 
woman  kneeling  before  him.  The  courtiers  manifest  their 
surprise  and  emotion  just  as  the  magistrates  assembled  in 
the  other  picture  show  their  imperturbability.  But  how 
significant  are  these  bourgeois  of  Louvain,  how  true  to 
life  and  how  they  reveal  their  century  and  their  race. 
The  grouping  of  these  figures  is  of  so  new  a  character  that 
they  recall  certain  frescoes  of  the  Quatrocentists. 

"  As  for  the  scene  of  the  burning  at  the  stake  in  the 


98  PALAIS    DES   BEAUX-ARTS 

second  panel,  it  is  treated,  although  in  minute  proportions, 
with  a  lightness — we  are  fain  to  say  spirit — which  is  a 
charming  surprise  in  this  austere  art;  some  one  has  said 
it  is  almost  in  the  style  of  genre  painting  of  the  Nineteenth 
Century.  The  colouring  of  these  pictures  merits  a  long 
attention,  particularly  that  of  the  second,  in  which  the 
scarlet  robe  of  the  king,  the  green  surcoat  and  red  hose 
of  the  fop,  leaning  on  his  cane,  the  carmine  dress  of  the 
widow,  the  rich  costume  of  the  courtier  behind  her,  the 
fine  tiles  of  the  floor,  the  sombre  marble  of  the  throne,  the 
brightly-lighted  landscape  in  the  background,  produce  a 
rich  and  grave  harmony,  a  little  less  powerful  than  that 
of  the  pictures  of  John  Van  Eyck,  but  perhaps  more 
subtle  and  more  penetrated  with  vital  and  expressive 
light."— (F-G.) 

The  Legend  of  St.  Anne  (1509)  is  the  earliest 
known  work  of  Quentin  Massys. 

"  The  landscape  background  of  the  central  panel  of  the 
triptych,  Holy  Family  and  Saints,  makes  us  think  that 
Joachim  Patenier  collaborated  in  the  work  of  his  friend, 
who,  later,  was  to  become  the  guardian  of  his  children." — 
(G.  Laf.) 

The  subject  of  the  front  of  the  left  shutter  is 
The  Angel  Announcing  the  Birth  of  the  Virgin. 
On  the  back  is  St.  Anne  and  St.  Joachim  making 
Their  Offerings.  The  right  shutter  represents 
the  Death  of  St.  Anne. 

"  Never  has  the  supreme  moment,  when  the  soul  is 
about  to  shed  its  mortal  envelope,  been  so  strikingly  rep- 
resented. The  artist  has  not  shown  us  the  decomposition 
of  the  body,  but  the  flight  of  the  soul  to  the  celestial 
sphere." — (F.) 

"  By  the  merit  of  its  execution,  this  scene  overshadows 
any  Flemish  work  that  had  yet  appeared.  Van  Eyck  has 
more  splendour.  Memling  more  gentleness.  Neither  at- 
tains a  more  complete  realization,  nor  models  with  greater 
science.  The  expression  is  in  no  way  inferior  in  nobility 
to  the  drawing;  and  the  harmonious  whole  evokes  the 
memory  of  Francia." — (H.  H.) 


BRUSSELS  99 

The  best  early  Flemish  work  is  plentiful  here. 
The  Descent  from  the  Cross,  by  Petrus  Christus, 
shows  early  Italian  influence.  It  also  reminds  us 
forcibly  of  Roger  Van  der  Weyden  in  some  aspects. 
Memling's  beautiful  Pieta  also  recalls  that  mas- 
ter. Another  early  gem  is  a  Holy  Family,  by 
the  Master  of  the  Death  of  the  Virgin. 

The  Last  Judgment,  by  Frans  Floris,  is  a 
magnificent  composition,  full  of  quaint,  mediaeval 
naturalism.  It  is  splendid  and  terrible. 

Other  famous  early  Sixteenth  Century  works 
are:  The  Last  Supper  and  Jesus  in  the  House 
of  Simon,  by  Albert  Bouts;  the  Temptation  of 
St.  Anthony,  by  Herri  de  Bles;  The  Last  Sup- 
per, by  Michael  Coxie;  and  Mater  Dolorosa,  by 
Patenier. 

Van  Orley's  masterpieces  are  here:  in  them  may 
be  admired  the  learned  character  of  his  drawing, 
the  boldness  of  the  attitudes,  and  the  vigour  of  ex- 
pression. In  them  also,  the  artist's  indebtedness  to 
Raphael,  and,  more  especially,  to  Michael  Angelo 
is  manifest.  The  Troubles  of  Job  are  dramatic- 
ally pictured.  On  the  first  panel,  Jehovah  talks 
with  Lucifer  and  gives  him  permission  to  torment 
his  pious  servant.  Below,  we  see  the  Chaldeans 
driving  away  the  good  man's  flocks  and  herds.  The 
pillagers  and  animals  are  surrounded  by  a  mysteri- 
ous landscape.  The  other  paintings  show  us  suc- 
cessively Job's  children  feasting  and  overwhelmed 
by  the  falling  palace ;  Job  on  the  ash-heap ;  the 
death  of  the  just,  described  in  conversation  with 
his  friends;  the  punishment  of  the  wicked  in  hell 
fire  ;  and  the  healing  and  glorification  of  the  Hebrew 
sage. 

"  These  pictures  are   interesting  for  many   reasons.     In 


ioo          PALAIS   DES   BEAUX-ARTS 

them  the  artist  presents  himself  as  a  great  painter:  we 
see  that  he  has  mastered  his  art;  and  that,  when  he 
wields  his  brush,  he  evokes  at  will  the  forms  that  captivate 
his  imagination.  The  warmth  of  the  work  announces  that 
he  felt  inspired." — (A.  M.) 

Van  Orley's  Descent  from  the  Cross 

"  commands  the  attention  and  captivates  the  sight  by  its 
intense  and  vigorous  colour,  learned  composition  and 
drawing  of  quite  Italian  correctness.  If  the  human  types 
are  somewhat  lacking  in  elegance,  their  faces  are  full  of 
expression,  and  betray  the  profound  grief  they  feel." — 
(A.  W.) 

Heemskerck's  Entombment  is  the  central  panel 
of  a  splendid  triptych,  signed  and  dated  1559. 

"  The  work  of  a  pure  apostle  of  linear  form,  dry, 
angular,  trenchant  and  blackish,  which  cuts  in  hard  steel 
its  figures  vaguely  imitated  from  Michael  Angelo." — (F.) 

The  student  would  not  willingly  miss  several 
masterly  works  by  the  Brueghel  family:  Hell- 
Fire's  fantastic  Fall  of  the  Angels;  Pieter's 
Massacre  of  the  Innocents  (in  a  Flemish  town, 
with  deep  snow  on  the  ground)  ;  and  Jan  the 
Younger's  lovely  and  decorative  Autumn,  and 
St.  Norbet  Preaching. 

Let  us  now  look  at  Rubens's  Adoration  of  the 
Kings,  which 

"  is  neither  the  first  nor  the  last  expression  of  an  idea  that 
Rubens  has  treated  many  times.  It  is  certain  that  it  comes 
after  the  Paris  and  before  the  Mechlin  example.  The  idea 
is  ripe:  the  stage-setting  more  than  complete.  The  neces- 
sary elements  which  later  will  compose  this  work,  so  rich 
in  transformations,  types,  personages  with  their  costumes, 
and  in  their  habitual  colours,  are  all  found  here,  playing 
the  parts  written  for  them,  occupying  their  destined  place 
on  the  stage.  It  is  a  vast  page,  conceived,  contained,  con- 
centrated and  summarized  as  an  easel  picture  should  be, 


BRUSSELS  101 

but  less  decorative  than  many  others.  A  great  clearness, 
and  a  great  care,  with  the  maturity  of  the  most  perfect 
knowledge.  The  whole  of  the  school  of  Rubens  might 
have  been  instructed  by  this  single  example." — (E.  F.) 

According  to  Max  Rooses,  the  upper  part  of 
the  Assumption  of  the  Virgin  was  painted  by 
Cornells  Schut,  who  also  collaborated  in  the  St. 
Stephen  in  the  Valenciennes  Museum. 

"  It  belongs  to  the  master's  first  period,  being  like  the 
pictures  of  that  date,  polished,  clean  in  surface,  and  some- 
what vitrified.  It  is  at  once  brilliant  and  cold,  inspired 
in  idea  and  prudent  in  execution.  In  it,  Rubens's  palette 
sounds  already  in  the  somewhat  dominant  notes — red,  yel- 
low, black,  and  gray,  with  splendour  but  with  crudity. 
Apart  from  a  few  imperfections,  all  Rubens  is  here  more 
than  in  germ.  Nothing  could  be  more  tender,  frank,  or 
striking.  As  an  improvisation  of  happy  tints,  as  life,  and 
as  harmony  to  the  eyes,  it  is  accomplished :  a  summer  fes- 
tival."—(F.) 

Christ  Bearing  the  Cross,  or  the  Ascent  to 
Golgotha,  is  one  of  those  scenes  of  bustle  and  ani- 
mation in  which  Rubens  delighted.  The  centurion 
on  horseback  pointing  out  the  way  is  a  portrait  of 
the  painter  himself. 

"  Here  we  have  movement,  tumult  and  agitation  in  the 
form,  gesture,  face,  disposition  of  groups,  and  oblique  cast 
from  below  upwards,  and  from  right  to  left.  Christ  falls 
beneath  his  cross,  the  mounted  escort,  the  two  thieves  held 
and  pushed  on  by  their  executioners,  are  all  proceeding 
along  the  same  line,  and  seem  to  be  scaling  the  narrow 
staircase  that  leads  to  the  execution.  Notwithstanding  that 
tree  of  infamy,  those  women  in  tears  and  grief,  that  con- 
demned man  crawling  on  his  knees,  with  panting  mouth, 
humid  temples  and  haggard  eyes  that  excite  pity,  notwith- 
standing the  cries,  the  terror,  the  imminent  death,  it  is 
clear,  to  whomsoever  cares  to  see,  that  this  equestrian 
pomp,  these  flying  banners,  this  cuirassed  centurion  who 
turns  around  on  his  horse  with  a  graceful  gesture, — all 


102          PALAIS   DES   BEAUX-ARTS 

this  makes   us   forget  the  execution,   and  gives  the  most 
manifest  idea  of  a  triumph." — (E.  F.) 

In  1618,  Rubens,  at  the  age  of  forty-one,  in  the 
full  development  of  his  genius,  painted  the 
Miraculous  Draught  of  Fishes  (at  Mechlin) 
and  other  masterpieces,  including  the  two  splendid 
portraits  of  John  Charles  de  Cordes  and  his  sec- 
ond wife,  Jacqueline  Van  Caestre. 

Four  Heads  of  Negroes  are  particularly  admir- 
able. The  work  was  originally  a  study  for  an 
Adoration  of  the  Magi.  One  of  them  occurs  in 
an  altarpiece  in  the  church  of  St.  John  in  Mechlin. 

Two  portraits  painted  for  the  triumphal  arch 
erected  in  Antwerp  on  the  occasion  of  the  entrance 
of  Ferdinand  of  Austria  are  more  than  life-size. 
The  Archduke  Albert,  represented  in  a  profile 
view,  with  a  hat  in  his  right  hand  and  the  left  on 
the  hilt  of  the  sword,  is  habited  in  a  black  dress, 
relieved  with  gold  buttons,  and  a  broad  ruff 
round  his  neck. 

"  Companion.  The  Archduchess  Isabella.  The  face  is 
seen  in  a  front  view,  with  the  head  inclining  a  little  on 
one  side.  The  dress  is  composed  of  a  broad  full  white 
ruff  round  the  neck,  a  beautiful  figured  black  silk  robe 
with  six  rows  of  large  pearls,  a  splendid  cross,  and  the 
Order  of  the  Virgin  suspended  in  front;  a  rich  tiara  of 
pearls  and  other  jewels  adorns  the  head.  The  right  hand 
holds  a  fan.  .  .  .  These  portraits  are  painted  in  a 
broad,  free,  and  masterly  manner." — (J.  S.) 

Meleager  and  Atalanta  is  a  magnificent  ver- 
sion of  the  Calydonian  hunt.  In  the  middle  of  the 
forest  scene  stands  Atalanta,  who  has  just  pierced 
the  boar  with  an  arrow ;  on  her  left  are  two  men 
on  horseback;  on  her  right  stands  Meleager, 
spear  in  hand. 


BRUSSELS  103 

De  Craeyer,  whom  Rubens  so  greatly  admired 
and  praised,  has  many  fine  canvases  with  subjects 
from  the  Bible  and  saintly  legends. 

The  Miraculous  Draught  of  Fishes  reveals 
De  Craeyer's  obligations  to  Rubens. 

"  One  would  think  that  it  was  painted  in  the  studio  of 
the  great  colourist;  and  it  would  not  suffer  in  company 
with  his  most  brilliant  productions.  The  vast  sky  spread- 
ing above  the  personages,  the  sea  stretching  to  the  right 
behind  them  without  anything  to  veil  this  double  space,  are 
all  that  are  in  opposition  to  the  method  and  customs  of 
Peter  Paul.  The  splendour  and  beauty  of  the  colour,  the 
elegance  of  the  types,  the  truth  of  the  attitudes,  and  the 
harmony  of  the  whole  constitute  this  a  superior  work. 
Beneath  his  violet  robe  and  purple  mantle,  the  Saviour  is 
in  such  relief  that  he  seems  to  rise  out  of  the  canvas,  and 
we  expect  to  see  Him  walk  out  of  the  frame.  The  little 
blond  mariner  in  rose-red  is  the  equal  of  the  most  charm- 
ing creations  of  any  master  whatsoever.  In  a  word,  this 
picture  is  so  sparkling  that  one  might  attribute  it  to 
Jordaens:  the  tone  surpasses  the  scale  of  Rubens." — 
(A.  M.) 

Van  Thulden's  Christ  at  the  Column  is  this 
artist's  most  serious  work. 

"  Here  at  least  the  painter  had  the  feeling  of  the  subject 
he  wished  to  represent ;  and  the  sombre  colouring  with 
which  he  has  veiled  his  canvas  gives  to  this  severe  page 
a  grand  character  of  melancholy." — (P.  M.) 

Jordaens  has  seven  works  here,  several  of  which 
are  of  prime  importance.  Fecundity  is  a  decora- 
tive group  of  nymphs  and  satyrs,  and  the  fruits  of 
the  earth. 

"  If  Jordaens  had  always  drawn  and  painted  in  this 
manner,  his  glory  would  have  been  quite  different.  This 
is  true,  simple,  sustained,  powerful.  These  are  women  and 
not  those  exaggerated  beings  he  ordinarily  painted.  The 
colour  is  firm,  real  and  not  false :  it  is  flesh  and  not  brick. 


104.        PALAIS   DES   BEAUX-ARTS 

We  could  not  too  often  repeat  that  it   is  a  magnificent 
painting." — (A.  de  M.) 

A  fine  Still-life  by  Snyders  depicts  a  heap  of 
fruits  and  vegetables  on  a  table;  among  the  game 
we  recognise  a  swan,  a  stag,  a  peacock  and  a 
lobster. 

"  The  picture  is  very  well  painted  in  true  and  brilliant 
colour,  and  with  a  finish  that  is  rare  with  this  painter. 
The  lights  and  shadows  are  of  extraordinary  vivacity  and 
strength  respectively ;  moreover,  the  local  tones  are  of  great 
beauty.  Fur  and  feathers,  fruits  and  birds  are  all  per- 
fectly rendered." — (A.  M.) 

Adriaen  van  Utrecht's  Kitchen  is  one  of  his 
finest  works.  In  the  background,  a  gentleman  is 
making  love  to  the  cook  who  has  a  chicken  in  one 
hand  and  a  spit  in  the  other.  The  intrigue  is  not 
noticed  by  the  richly-dressed  lady  of  the  house,  who 
is  seated  at  a  table  intently  observing  a  pheasant 
pie  and  other  delicacies  with  which  the  table  is 
loaded — meat,  chicken,  vegetables  and  fruits.  Jugs 
and  glasses  also  suggest  festivity.  The  accessories 
form  a  fine  study  of  still-life. 

Koedyck's  Interior  is  a  masterly  piece  of  work- 
manship. A  woman  sitting  with  a  boy  beside  her 
in  a  lofty  room  is  rummaging  in  the  drawer  of  a 
piece  of  furniture.  In  a  gallery  over  a  high  bed  in 
the  wainscot  a  child  is  looking  down.  A  decora- 
tive chimney-piece,  high  settle,  chair,  and  cat  mak- 
ing itself  comfortable  on  a  foot-warmer,  complete 
the  accessories  which  are  painted  with  rare  art. 

Erasmus  Quellin  and  Daniel  Seghers  often  collab- 
orated. Quelin  composed  a  medallion  en  gri- 
saille, which  his  friend  surrounded  with  Flowers. 

"  The  God-Made  Man,  treated  in  a  fine  style  of  drapery 
and  distinguished  by  a  fine  type  of  character,  is  the  sub- 


BRUSSELS  105 

ject  here.     It  is  encircled  by  a  green  and  flowery  garland, 
full  of  grace  and  freshness." — (A.  M.) 

David  Teniers  the  Younger  has  several  works 
here,  some  of  them  ranking  among  his  very  best. 
The  Five  Senses  is  especially  famous,  since  it  is 
one  of  the  rare  occasions  on  which  he  introduces 
us  to  polite  society.  In  the  company  are  himself 
and  his  wife,  one  playing  the  guitar  and  the  other 
smelling  a  lemon. 

The  Archduke  Leopold's  Picture  Gallery  is 
very  celebrated;  and  so  is  a  grotesque  Tempta- 
tion of  St.  Anthony. 

The  Kermesse  (dated  1646)  depicts  a  village 
merry-making  in  front  of  an  inn,  with  various 
groups  eating  and  drinking,  dancing  and  love- 
making. 

"  It  is  an  example  of  the  artist's  most  spirited  and  fas- 
cinating style  of  handling,  aided  by  a  sparkling  brilliancy 
of  colouring,  which  gives  life  and  movement  to  the  numer- 
ous groups  which  compose  it.  It  is  clear  and  silvery  in 
tone,  and  perfect  in  preservation." — (J.  S.) 

The  Village  Doctor  is  seated  at  a  table  scruti- 
nising the  contents  of  a  flask  that  he  holds  up  to 
the  light  while  a  woman  awaits  the  result  of  his 
examination.  Three  men  in  the  background  are 
seated  at  a  table  covered  with  various  utensils.  In 
the  foreground,  a  stove,  and  earthen  pots  afford 
full  scope  to  the  artist's  loving  treatment  of  still- 
life. 

The  liveliest  Jan  Steen  here  is  the  Gallant 
Offering:  a  brilliant  interior  depicting  a  comedy 
played  by  five  figures :  a  sixth  at  the  window  is  an 
interested  spectator- 

"  One  of  the  women  is  seated  in  the  centre  of  the  apart- 
ment, turning  good-humourdly  round  to  look  at  a  merry 


106         PALAIS   DES   BEAUX-ARTS 

fellow  who  is  entering  with  a  herring  in  one  hand  and  three 
onions  in  the  other.  This  bustle  has  excited  the  barking 
of  a  dog,  and  attracted  the  attention  of  the  other  woman 
who  stands  by  a  table  with  a  coffee  pot  in  her  hand.  An 
excellent  production,  painted  in  the  artist's  most  esteemed 
manner." — (J.  S.) 

The  Crimps  (formerly  Rhetoricians)  is  a  gay 
tavern  scene,  with  soldiers  enjoying  themselves 
after  their  kind,  while  one  reads  a  proclamation  at 
the  window  to  laughing  villagers  outside. 

Brilliant  and  vigorously  painted  is  Reading. 
An  old  woman  in  white  cap,  red  bodice  and  black 
skirt  is  sitting  in  a  big  arm-chair,  in  an  easy  atti- 
tude in  absorbed  perusal  of  a  big  book.  The  ac- 
cessories are  vividly  rendered. 

The  Weaver  at  Rest  is  the  work  of  A.  Van 
Ostade  and  his  friend  Decker  in  collaboration. 
The  loom  is  on  the  left,  strongly  lighted  by  a  high 
window.  The  weaver,  with  his  pipe  in  his  mouth, 
is  sitting  on  an  upturned  barrel  by  a  table  at 
which  his  wife  is  sitting  nursing  a  child.  Behind 
them,  a  little  girl  is  opening  a  crockery  cupboard. 
In  the  background  is  a  fireplace  with  cooking 
utensils.  Hams  hang  from  the  rafters,  and  a 
dog  is  scratching  itself  in  the  foreground. 

"  Nothing  could  be  more  plebeian ;  well !  one  would  say 
it  was  a  golden  chamber,  a  chamber  to  put  into  a  casket, 
so  splendidly  does  the  sun  illumine  it !  The  loom,  with  its 
hanks  of  hemp,  shines,  gleaming,  dazzling  and  sparkling 
like  a  shrine.  The  caldron  looks  like  a  jewel  of  fine  gold, 
and  everything,  even  up  to  the  skin  of  the  hams  beneath 
the  ceiling,  has  the  gleam  of  straw  and  a  kind  of  golden 
glaze."— (M.  Van  de  W.) 

Brussels  is  rich  in  great  portraits  of  all  periods : 
Charles  the  Bold,  by  Van  der  Weyden;  Sir 


BRUSSELS  107 

Thomas  More,  by  Holbein ;  the  Duke  of  Alva,  by 
Moro;  Artist  and  Family,  by  C.  de  Vos ;  and 
Van  der  Heist's  Portrait  of  Himself  are  among 
the  most  celebrated. 

Rembrandt's  Man,  dated  1641,  is  a  splendid 
study  in  black  and  white  on  a  neutral  ground ;  and 
an  Old  Woman  is  even  superior. 

"  '  Dr.  Scheuring,'  the  old  man  with  the  shaved  upper 
lip,  beard,  and  hair  over  his  forehead,  by  Lucas  Cranach, 
and  Jean  Gossart's  '  Chevalier  of  the  Golden  Fleece,'  are 
masterly  portraits.  Van  Cleve,  Van  Orley,  Key — perhaps 
a  portrait  of  the  bloody  Duke  of  Alva — also  one  of  him- 
self, and  Coello's  '  Marie  of  Austria,'  and  Philippe  de 
Champagne's  portrait  of  himself,  are  among  the  sterling 
specimens  in  this  gallery. 

"Of  Frans  Hals  there  are  two  fine  specimens;  one,  a 
portrait  of  Willem  van  Heythusen,  is  a  small  picture,  the 
figure  sitting,  the  legs  crossed  (booted  and  spurred)  and 
the  figure  leaning  lazily  back.  On  his  head  a  black  felt 
hat,  with  a  broad  upturned  brim.  The  expression  of  the 
bearded  man  is  serious.  The  only  Jan  Vermeer  is  one  of 
the  best  portraits  by  that  singularly  gifted  painter  we  re- 
call. It  is  called  'The  Man  with  the  Hat.'  Dr.  Bredius 
in  1905  considered  the  picture  as  by  Jean  Victor,  but  it 
has  been  pronounced  Vermeer  by  equal  authorities.  The 
man  sits,  his  hand  holding  a  glove,  resting  negligently  over 
the  back  of  a  chair.  He  faces  the  spectator,  on  his  head  a 
long  pointed  black  hat  with  a  wide  brim.  His  collar  is 
white.  A  shadow  covers  the  face  above  the  eyes.  These 
are  rather  melancholy,  inexpressive;  the  flesh  tints  are 
anaemic,  almost  morbid.  We  are  far  away  from  the  Ver- 
meer of  the  '  Milkmaid  and  the  Letter.'  There  is  some- 
thing disquieting  in  this  portrait,  but  it  is  a  masterpiece 
of  paint  and  character." — (J.  G.  H.) 

Few  Italians  are  here:  there  is  a  good  Veronese, 
and  a  sumptuous  Crivelli.  Guercino's  Madonna 
and  Saints  (1616) 

"belongs  to  his  early  naturalistic  manner;  in  which,  how- 
ever, he  corrected  the  inky  blackness  of  his  master's  man- 


io8         PALAIS   DES   BEAUX-ARTS 

ner  (Caravaggio)  by  a  richer  and  more  coloured  sombre- 
ness,  derived  from  the  example  of  Correggio." — (C.  P.) 

A  highly-prized  landscape  by  Salomon  Ruysdael 
is  the  Ferry,  signed  and  dated  1647.  In  the  boat 
are  a  chariot  and  four  horses ;  boats  are  in  the 
middle  of  the  stream  and  the  banks  are  dotted  with 
groups  of  trees  and  farmhouses. 

"  A  beautiful  composition,  harmony  of  brown  tints  op- 
posed to  greenish  grays;  silvery  sky." — (E.  M.) 

Hobbema's  Mill  is  composed  of 

"  a  picturesque  landscape,  with  an  overshot  watermill  on 
the  right,  having  a  red-tiled  roof,  and  a  large  wheel  under 
cover  near  it.  A  large  stream  of  water  flows  in  front  of 
the  mill  and  extends  across  the  foreground.  A  peasant 
stands  on  the  bank,  and  opposite  is  a  man  angling.  On 
the  left  is  a  large  cottage,  and  a  cluster  of  trees,  with  a 
road,  on  which  are  two  men ;  and  a  third  is  close  to  the 
cottage  fence.  Cottages  amid  trees  are  in  the  middle  dis- 
tance. The  aspect  of  a  fine  summer's  day  adds  an  in- 
describable charm  to  the  rural  scene." — (J.  S.) 

Claude  Lorrain's  Aeneas  Hunting  the  Stag 
on  the  Libyan  Shore  is  a  lovely  landscape  with 
sunrise  on  the  sea.  Seven  ships  are  at  anchor  near 
the  shore ;  and,  on  the  right  near  the  wood,  lie  sev- 
eral victims  of  the  hero's  arrows. 

*'  The  great  quality  of  this  picture  is  that  it  is  open  air : 
the  line  of  the  horizon  of  the  sea  is  of  astonishing  depth; 
the  rocks  and  trees,  ships  and  bushes  are  bathed  in  that 
fluid  atmosphere  that  gives  its  relative  value  to  every 
plane."— (E.  L.) 


MUSEE  ROYAL  DES   BEAUX-ARTS 
ANTWERP 

THE  Musee  Royal  des  Beaux-Arts  of  Antwerp 
was  erected  in  1879-1890.  The  ground  floor  is 
occupied  by  the  sculpture  gallery,  views  and  studies 
of  old  Antwerp  and  the  Rubens  Collection  founded 
in  1877,  which  consists  of  reproductions  of  most 
of  Rubens's  works.  The  great  vestibule  de  Keyser 
is  decorated  with  paintings,  the  subjects  of  which 
are  drawn  from  the  Antwerp  School  of  Art.  The 
Picture  Gallery  is  on  the  first  floor  and  includes 
about  eight  hundred  pictures.  To  those  gathered 
from  the  churches  and  suppressed  monasteries  of 
Antwerp,  the  Hotel  de  Ville  and  the  Steen,  were 
added  the  Collections  of  Burgomaster  Van  Ert- 
born  in  1840,  and  the  Baroness  Van  der  Hecke- 
Baut  in  1859. 

The  strength  of  the  gallery  lies  in  Rubens  and 
the  works  of  the  early  Flemish  school.  A 
Calvary,  dated  1363,  belongs  to  the  very  fount  of  ,. 
tin-  art.  The  chief  masterpieces  are  John  Van 
Eyck's  St.  Barbara  and  Virgin  and  Child;  Roger 
Van  der  Weyden's  Seven  Sacraments ;  Memling's 
Christ  as  King  of  Heaven;  Massys's  Entomb- 
ment; Clouet's  Francis  II.;  Rubens's  Coup  de 
Lance,  Adoration  of  the  Magi,  Portraits  of 
Rockox  and  Wife,  Prodigal  Son,  Communion  of 
St.  Francis,  and  St.  Theresa;  Van  Dyck's  Pieta; 
Hals's  Fisher  Boy;  Jordaens's  Family  Concert; 
Antonello  da  Messina's  Crucifixion;  and  Portrait  . 
109 


I  io    MUSEE   ROYAL   DES    BEAUX-ARTS 

of    Abraham    Graphaeus    and    St.    Norbert,    by 
Cornells  de  Vos. 
John  Van  Eyck's  Virgin  and  Child 

"  may  be  noticed  for  the  red  and  opaque  quality  of  tone. 
Finish  and  minuteness  characterize  the  panel  in  a  marked 
manner,  but  its  chief  feature  of  interest  is  that  in  it  we 
find  the  only  point  of  contact  between  the  schools  of 
Bruges  and  Cologne.  This  Virgin  and  Child  seems  in- 
spired by  the  larger  picture  at  Cologne,  painted,  it  is  be- 
lieved, by  the  celebrated  Wilhelm." — (C.  and  C.) 

St.  Barbara,  seated  on  the  ground,  pensively 
turning  the  leaves  of  a  book,  though  unfinished, 
is  a  most  attractive  work. 

"  In  her  right  hand  she  holds  a  palm.  Her  ample  robe 
lies  in  folds  about  her;  in  the  background  is  the  tower,  her 
emblem,  a  conspicuous  landmark  in  a  landscape  of  hills 
dotted  with  trees.  The  sky  is  colored,  the  rest  of  the 
picture  merely  indicated  by  minute  contour,  showing  how 
careful  the  master  was  to  leave  nothing  to  chance." — (C. 
and  C.) 

Roger  Van  der  Weyden's  famous  triptych,  the 
Seven  Sacraments,  consists  of  a  central  panel  oc- 
cupied by  the  Eucharist;  on  the  right  wing  Bap- 
tism, Confirmation  and  Confession ;  and  on  the  left, 
Ordination,  Marriage  and  Extreme  Unction.  The 
central  panel  represents  the  interior  of  a  Gothic 
church  treated  so  realistically  that  one  seems  actu- 
ally within  the  building.  The  light,  sifting  through 
the  windows  and  arches  of  the  nave  and  apsis, 
brightens  the  scene  which  is  so  strangely  con- 
ceived. 

"  A  cross  almost  as  high  as  the  vaulting  is  elevated  in 
the  church  in  the  second  transept.  Jesus  here  again  sub- 
mits to  the  horrors  of  death  and  the  sacrifice  on  Golgotha 
is  repeated.  The  Son  of  Man  is  not  carved  on  the  Cross, 
but  is  represented  as  alive,  perishing  as  of  old,  for  the 
salvation  of  the  world.  Mary  Magdalen  and  Mary  Salome 


ANTWERP  in 

are  upon  their  knees  at  the  Cross,  the  first  regarding 
Christ  with  grief,  and  the  second  turning  away  to  wipe 
her  tears.  As  for  the  Virgin,  she  cannot  support  the 
terrible  spectacle,  and  faints  in  the  arms  of  St.  John. 
Behind  these  groups  and  behind  the  Cross,  a  priest 
officiates  at  an  altar,  the  back  of  which  is  against  the  jube, 
and  elevates  the  monstrance  that  holds  the  emblem  of  the 
divine  immolation.  The  symbol  is  therefore  connected 
with  the  Sacrifice  by  an  audacious  disregard  of  probability 
and  of  chronological  order.  On  an  altar  you  see  the  statue 
of  the  Virgin  holding  her  son;  and  before  them  a  real 
angel  in  adoration :  St.  Peter,  St.  Paul  and  St.  John  oc- 
cupy the  brackets.  In  this  work  the  painter  has  combined 
the  real  and  the  unreal  with  great  boldness." — (A.  M.)  . 

The  wings,  each  of  which  contains  three  little 
pictures,  are  equally  admired. 

"  The  details  of  the  architecture  and  sculpture  that 
adorn  the  central  nave,  the  little  figures  in  the  far  distance 
are  all  painted  with  correct  minuteness,  and  harmonize 
with  the  whole.  The  heads  are  animated  with  an  ex- 
tremely dramatic  passion,  or  are  marked  by  pious  serenity : 
they  are  all  marked  by  an  individuality  that  can  not  be 
forgotten.  The  delicate  angels,  cast  into  the  air  like  birds 
taking  flight,  possess  an  elegance  peculiar  to  Roger,  al- 
though he  borrowed  them  from  Van  Eyck,  who  seems  to 
have  taken  them  from  the  Cologne  School :  for  we  meet 
almost  similar  ones  in  the  pictures  of  Master  Wilhelm  and 
Master  Stephan."— (W.  B.) 

A  small  Annunciation  is  attributed  also  to 
Roger  Van  der  Weyden. 

"  This  enables  one  to  appreciate  with  what  ingenuous 
grace  Roger  interpreted  the  initial  mystery  of  the  Redemp- 
tion. This  little  picture  is  a  sort  of  miniature,  very  bril- 
liant with  its  bed  with  green  canopy  and  scarlet  coverlid 
and  the  beautiful  contrasts  of  the  white  and  blue  robes  of 
the  angel  and  the  Virgin." — (F-G.) 

There  is  also  a  portrait  of  Philip  the  Good,  on 
a  green  background:  probably  a  replica  of  a  lost 
work. 


H2    MUSEE   ROYAL   DES    BEAUX- ARTS 

St.  Christopher,  by  Thierry  Bouts,  must  not  be 
neglected ;  ancf  a  Nativity,  by  his  son,  Albert, 
merits  attention. 

Memling  has  three  fine  portraits,  and  three  altar- 
pieces.  In  one  of  the  latter,  the  Virgin  stands  with 
the  Child  in  the  nave  of  a  Gothic  cathedral.  She  is 
of  gigantic  proportions,  reaching  up  to  the  tri- 
forium.  She  wears  a  green  robe,  red  mantle  and 
jewelled  crown.  In  the  choir,  in  the  distance, 
angels  are  reading  a  book,  and  probably  singing. 
In  front  of  the  Virgin  are  flowers  in  an  ornate 
vase. 

The  visitor's  attention  would  be  called  to  Mem- 
ling's  Christ  as  King  of  Heaven  on  account  of 
its  size,  if  for  no  other  reason  (23  feet  by  5^  feet). 
Christ  occupies  the  centre  of  the  central  panel 
wearing  a  rich  chasuble  of  brocade  clasped  with  a 
jewel  and  a  golden  crown.  His  left  hand  rests  on 
a  globe  surmounted  by  a  large  cross,  and  His  right 
is  raised  in  benediction.  The  rays  of  light  behind 
His  head  form  a  star.  Three  angels  sing  from  a 
book  on  each  side  of  Him.  On  each  of  the  wings 
are  five  angels  with  musical  instruments. 

Herri  de  Bles  has  a  Repose  on  the  Flight  into 
Egypt  of  fine  execution,  with  blue  landscape, 
beautiful  cloud-flecked  sky  and  distant  moun- 
tains. The  type  of  the  Virgin  is  charming,  deli- 
cate, and  very  original.  The  verdure  has  the 
sombre  tints  that  Memling  loved,  and  the  plants 
are  painted  with  his  precision,  or  even  with 
superior  sharpness.  The  foliage  shows  great 
patience  and  minute  observation.  To  the  right 
of  Mary  is  a  little  cascade  of  very  natural  aspect. 
This  is  a  work  of  high  distinction. 

The  Burial  of  Christ  is  his  masterpiece. 


ANTWERP  113 

"  We  find  ourselves  in  a  world  where  everything  speaks 
out  deeply,  pointedly,  and  earnestly.  Sorrow  here  reveals 
itself,  not  only  on  the  surface  of  the  figures,  but  we  see  it 
working  inwardly  in  them,  violently  moving  them,  and 
breaking  through  their  passive  demeanour.  The  very 
structure  of  the  body  seems  no  longer  the  same,  its  usual 
soft  outlines  yielding  to  a  passionate,  quick  action,  the 
sudden  predominance  of  which  leads  more  to  angular 
forms  than  to  soft  contours.  Outward  nature  itself,  the 
very  landscape  shows  none  but  rugged  forms.  It  is  wild 
and  rocky,  and  by  projecting  upwards  from  behind  the 
group  towards  the  vertical  point  of  the  picture  leaves  but 
little  space  for  the  sky."— (O.  E.) 

The  Adoration  of  the  Shepherds,  by  Frans 
Floris,  is  remarkable  for  facial  expression:  the 
heads  are  fine  and  gentle ;  and  the  accessories  and 
animals  are  painted  with  fine  breadth.' 

More  famous  is  his  Fall  of  the  Rebel  Angels, 
a  phantasmagoric  conception  with  its  human  forms 
of  animal  heads. 

•"  Neither  the  Middle  Ages,  nor  popular  legend,  ever 
saw  in  their  nightmares  a  more  strangely  diabolical  army. 
The  dwellers  of  the  sky,  on  the  contrary,  are  of  radiant 
and  serene  beauty ;  and  their  strength  is  mingled  with  a 
grace  that  is  reminiscent  of  Italy." — (P.  M.) 

Christ  Appearing  to  the  Virgin  and  St.  John 
gives  us  a  high  idea  of  the  powers  of  Jacques 
van  Opstal. 

"  Feeling,  character,  elegant  forms  and  easy  pose  are 
here  found  in  combination  with  true,  intense  and  harmoni- 
ous colour.  The  great  pupils  of  Rubens  could  not  have 
done  better." — (A.  M.) 

One  of  Jan  Snellinck's  most  interesting  pictures 
is  Christ  Between  the  Two  Thieves  (1597). 
"  Rubens  was  twenty  years  old ;  but  this  work  proves 


114    MUSEE   ROYAL   DES    BEAUX-ARTS 

that  the  Flemish  School  was  already  preoccupied  with 
painting,  luminous  and  living  flesh.  The  figures  here  show 
those  white  and  rose  carnations  that  Van  Balen  is  soon 
going  to  imitate,  and  which  later  will  fascinate  Rubens, 
Jordaens  and  all  the  Antwerp  painters." — (P.  M.) 

Among  the  gems  of  the  gallery  is  Clouet's  Por- 
trait of  Francis  II.  as  a  child  (1547). 

"  This  is  a  masterpiece  made  of  nothing.  Janet's  light 
brush  has  laid  nothing  but  light  upon  the  canvas.  The 
little  Dauphin  who  was  to  wed  Mary  Stuart  is  charming 
in  his  yellow  doublet  slashed  with  white  covered  with  a 
surtout  with  red  sleeves.  His  black  hat  with  swan's 
feathers,  his  fair  hair  that  shows  under  it,  his  soft  and 
gentle  eyes,  his  fine  infantile  and  royal  grace,  all  render 
him  entirely  worthy  of  the  delightful  little  bride  that  His- 
tory promised.  But,  alas !  neither  the  enamelled  insigntim 
on  the  brim  of  his  hat,  showing  St.  Francis  kneeling  before 
Christ,  nor  the  blessed  medallion  hanging  at  his  neck 
could  preserve  either  him  or  his  wife  from  the  tragedies 
of  the  future."— (C.  B.) 

Van  Orley's  Last  Judgment  enables  us  to 
study  the  painter's  last  manner.  In  the  head  of 
the  triptych,  in  the  centre,  we  see  Jesus  Christ, 
the  Virgin,  Saints  and  Angels ;  but  all  this  upper 
part  of  the  altarpiece  has  been  sacrificed  to  the 
lower,  the  artist  devoting  himself  particularly 
to  representing  the  separation  of  the  good  from 
the  wicked.  We  see  them  in  countless  multitudes 
leaving  their  graves. 

The  fine  and  intense  colour  of  the  painter,  and 
his  sound  knowledge  of  anatomy  are  fully  displayed 
in  this  masterpiece. 

A  sacred  subject  in  lovely  landscape  settings  is 
Patenier's  Flight  into  Egypt.  Mabuse  has  sev- 
eral fine  works,  of  which  the  Four  Maries  Re- 
turning from  the  Tomb  is  especially  remarkable 
for  its  sympathetic  treatment. 


Si 


I 


ST.  BARBARA — J.  Van  Eyck 

ANTWERP 


O 


ANTWERP  115 

Coming1  now  to  Rubens,  some  critics  consider 
Christ  Between  the  Two  Thieves,  also  called 
Le  Coup  de  Lance,  a  greater  masterpiece  than  the 
Descent  from  the  Cross,  in  the  Antwerp  Cathe- 
dral. 

"  To  give  animation  to  this  subject,  Rubens  has  chosen 
the  point  of  time  when  an  executioner  is  piercing  the  side 
of  Christ,  whilst  another  with  a  bar  of  iron  is  breaking 
IhT'ltmbs"  of  one  of  the  malefactors,  who  in  his  convulsive 
agony,  which  his  body  admirably  expresses,  has  torn  one 
of  his  feet  from  the  tree  to  which  it  was  nailed.  The  ex- 
pression in  the  action  of  this  figure  is  wonderful :  the  at- 
titude of  the  other  is  more  composed ;  and  he  looks  at  the 
dying  Christ  with  a  countenance  perfectly  expressive  of 
his  penitence.  This  figure  is  likewise  admirable.  The 
Virgin,  St.  John,  and  Mary,  the  wife  of  Cleophas,  are 
standing  by  with  great  expression  of  grief  and  resignation, 
whilst  the  Magdalen,  who  is  at  the  feet  of  Christ,  and 
may  be  supposed  to  have  been  kissing  his  feet,  looks  at 
the  horseman  with  the  spear  with  a  countenance  of  great 
horror:  as  the  expression  carries  with  it  no  grimace  or 
contortion  of  the  features,  the  beauty  is  not  destroyed.  . 
This  is  by  far  the  most  beautiful  profile  I  ever  saw  of  * 
Rubens,  or,  I  think,  of  any  other  painter;  the  excellence  v' 
of  its  colouring  is  beyond  expression.  The  good  centurion 
ought  not  to  be  forgotten,  who  is  leaning  forward,  one 
hand  on  the  other,  resting  on  the  mane  of  his  horse,  while 
he  looks  up  to  Christ  with  great  earnestness. 

"  The  genius  of  Rubens  nowhere  appears  to  more  ad- 
vantage than  here:  it  is  the  most  carefully  finished  picture 
of  all  his  works.  The  whole  is  conducted  with  the  most 
consummate  art;  the  composition  is  bold  and  uncommon,  - 
with  circumstances  which  no  other  painter  had  ever  before  ^s 
thought  of;  such  as  the  breaking  of  the  limbs,  and  the  ex- 
preTsTorT^f  the  Magdalen,  to  which  we  may  add  the  dis- 
position of  the  three  crosses,  which  are  placed  perspec- 
tively  in  an  uncommon  picturesque  manner :  the  nearest 
bears  the  thief  whose  limbs  are  breaking;  the  next  the 
Christ,  whose  figure  is  straighter  than  ordinary,  as  a  con- 
trast to  the  others;  and  the  furthermost  the  penitent  thief: 
this  produces  a  most  picturesque  effect,  but  it  is  what  few 


ii6    MUSEE   ROYAL   DES    BEAUX- ARTS 

but  such  a  daring  genius  as  Rubens  would  have  attempted. 
It  is  here  and  in  such  compositions  we  properly  see 
Rubens,  and  not  in  little  pictures  of  Madonnas  and  Bam- 
binos. 

"  In  this  picture  the  principal  and  the  strongest  light  is 
the  body  of  Christ,  which  is  of  a  remarkably  clear  and 
bright  colour;  this  is  strongly  opposed  by  the  very  brown 
complexion  of  the  thieves  (perhaps  the  opposition  here  is 
too  violent)  who  make  no  great  effect  as  light.  The  Vir- 
gin's outer  drapery  is  dark  blue,  and  the  inner  a  dark 
purple ;  and  St.  John  is  in  dark,  strong  red ;  no  part  of 
these  two  figures  is  light  in  the  picture  but  the  head  and 
hands  of  the  Virgin. 

"  I  have  dwelt  longer  on  this  picture  than  any  other,  as 
it  appears  to  me  to  deserve  extraordinary  attention :  it  is 
certainly  one  of  the  first  pictures  in  the  world,  for  com- 
position, colouring,  and  what  was  not  to  be  expected  from 
Rubens,  correctness  of  drawing." — (J.  R.) 

The  Adoration  of  the  Magi  is  gorgeous  in 
colour  and  contains  about  twenty  figures  more  than 
life-size,  besides  camels  and  horses  in  the  suite  of 
the  Three  Kings,  combined  with  wonderful  variety, 
freedom  and  boldness  of  attitude.  This  master- 
piece is  said  to  have  been  painted  in  a  fortnight. 
The  light  is  very  beautifully  arranged,  most  bril- 
liant in  the  foreground,  and  gradually  diminishing 
into  the  shadowy  background.  The  Virgin,  in  red 
robe  and  grey  mantle,  stands  in  the  stable  holding 
the  Child  in  the  cradle.  St.  Joseph  stands  behind 
them.  Near  the  Virgin  stands  also  the  Ethiopian 
King  in  a  green  robe,  black  fur-lined  mantle  and 
white  and  red  turban.  In  the  full  light  kneels  the 
second  King,  in  rich  dalmatic  and  white  surplice, 
his  page  presenting  a  cup;  and  the  third  King,  in 
red  mantle,  faces  the  spectator  and  holds  a  rich 
cup.  This  work  is  in  the  master's  third  style. 

"  The  great  altar,  the  Adoration  of  the  Magi ;  a  large 


ANTWERP  117 

and  magnificent  composition  of  near  twenty  figures  in 
Rubens's  best  manner.  Such  subjects  seem  to  be  more 
particularly  adapted  to  the  manner  and  style  of  Rubens; 
his  excellence,  his  superiority,  is  not  seen  in  small  com- 
positions. The  head  of  the  ox  is  remarkably  well  painted." 

-(J.  R-) 

The  Prodigal  Son  was  much  admired  by  Sir 
Joshua  Reynolds,  particularly  for  the  dramatic  way 
in  which  repentance  is  shown  in  the  face  of  the 
sinner.  The  scene  is  laid  within  a  stable,  where 
grooms  are  busy  with  the  horses  and  a  servant 
woman  is  feeding  the  pigs.  The  Prodigal  is  kneel- 
ing near  the  trough.  Note  the  woman  with  a 
lighted  candle  going  towards  the  cows  in  the  back 
of  the  stable. 

^he  Virgin  with  the  Parrot,  also  called  the 
Holy  Family,  is  an  early  work.  The  Virgin, 
seated  on  a  bench  and  caressing  the  Infant  Jesus 
who  stands  beside  her  and  St.  Joseph  who  is  in  the 
shadows,  are  by  Rubens ;  but  the  landscape  and  the 
parrot  biting  a  branch  are  by  an  assistant,  and  were 
retouched  by  Rubens. 

In  Christ  on  the  Cross,  the  figure  of  Christ  is 
by  Rubens ;  but  a  pupil  is  responsible  for  the  dis- 
tant view  of  Jerusalem.  The  sky  is  filled  with  dark 
clouds ;  and  an  eclipse  of  the  sun  is  represented. 

The  Last  Communion  of  St.  Francis  is  solely 
the  work  of  Rubens.  The  influence  of  Annibale 
Carracci  and  Caravaggio,  and  Domenichino  are 
plainly  seen. 

The  Incredulity  of  St.  Thomas  is  the  central 
panel  of  an  altarpiece  that  Rubens  painted  for  the 
mortuary  chapel  of  Nicholas  Rockox  in  the  Re- 
collet's  Church. 

"  The  head  of  the  Christ  is  rather  a  good  character,  but 


ii8    MUSEE  ROYAL   DES   BEAUX- ARTS 

the  body  and  arms  are  heavy: — it  has  been  much  damaged. 
On  the  inside  of  the  two  folding  doors  are  portraits  of 
the  Burgomaster  and  his  wife,  half-lengths :  his  is  a  fine 
portrait;  the  ear  is  remarkably  well  painted,  and  the 
anatomy  of  the  forehead  is  well  understood.  Her  portrait 
has  no  merit  but  that  of  colour.  Van  Dyck  likewise  has 
painted  a  portrait  of  Rockox,  a  print  of  which  is  in  his 
book  of  heads  of  eminent  men.  It  should  seem  that  he 
was  a  great  patron  of  the  arts :  he  gave  to  this  church  the 
picture  of  the  great  altar,  which  has  been  already  men- 
tioned."—(J.  R.) 

The  Education  of  the  Virgin  dates  from  about 
1625.  Amid  climbing  roses  on  a  stone  balustrade 
St.  Anne  is  seated,  while  the  Virgin  stands  by  her 
side,  richly  dressed  in  white  silk  with  a  blue  scarf. 
She  has  the  face  and  form  of  Helena  Fourment. 

"  Behind  St.  Anne  is  a  head  of  St.  Joachim ;  two  angels 
in  the  air  with  a  crown.  This  picture  is  eminently  well 
coloured,  especially  the  angels ;  the  union  of  their  colour 
with  the  sky  is  wonderfully  managed.  It  is  remarkable 
that  one  of  the  angels  has  Psyche's  wings,  which  are  like 
those  of  a  butterfly.  This  picture  is  improperly  called  St. 
Anne  teaching  the  Virgin  to  read,  who  is  represented 
about  fourteen  or  fifteen  years  of  age,  too  old  to  begin  to 
learn  to  read.  The  white  silk  drapery  of  the  Virgin  is 
well  painted,  but  not  historical ;  the  silk  is  too  particularly 
distinguished,  a  fault  of  which  Rubens  is  often  guilty,  in 
his  female  drapery;  but  by  being  of  the  same  colour  as 
the  sky  it  has  a  soft  harmonious  effect.  The  rest  of  the 
picture  is  of  a  mellow  tint." — (J.  R.) 

Christ  a  la  Faille  (of  the  Straw)  was  origin- 
ally in  the  Antwerp  Cathedral,  where  Sir  Joshua 
Reynolds  saw  it.  Christ  is  resting  on  a  stone 
bench-  covered  with  straw,  partly  supported  by 
Joseph  of  Arimathsea,  and  mourned  over  by  the 
Virgin,  St.  John  and  Magdalen. 

"  A  Pieta  by  Rubens,  which  serves  as  a  monument  of 
the  family  of  Michielsens,  is  fixed  on  one  of  the  pillars: 


COUP  DE  LANCE— Rubens 

ANTWERP 


I     ftl 

H  w 
£  £ 


K 


ANTWERP  119 

this  is  one  of  his  most  careful  pictures ;  the  characters 
are  of  a  higher  style  of  beauty  than  usual,  particularly 
the  Mary  Magdalen,  weeping  with  her  hand  clenched. 
The  colouring  of  the  Christ  and  the  Virgin  is  of  a  most 
beautiful  and  delicate  pearly  tint,  opposed  by  the  strong 
high  colouring  of  St.  Joseph." — (J.  R.) 

St.  Theresa  was  painted  between  1630  and 
1635,  for  a  chapel  in  the  Carmelite  Church. 

"  At  an  altar  on  the  opposite  little  niche  on  the  left 
Christ  relieving  Souls  out  of  purgatory  by  the  interces- 
sion of  St.  Theresa.  The  Christ  is  a  better  character,  has 
more  beauty  and  grace,  than  is  usual  with  Rubens ;  the 
outline  remarkably  undulating,  smooth  and  flowing.  The 
head  of  one  of  the  women  in  purgatory  is  beautiful  in 
Rubens's  way;  the  whole  has  great  harmony  of  colouring 
and  freedom  of  pencil;  it  is  in  his  best  manner." — (J.  R.) 

The  Pieta,  or  Entombment,  was  a  favourite 
subject  with  Van  Dyck:  he  has  two  famous 
examples  in  this  gallery,  one,  painted  in  1628,  and 
the  other  in  the  following  year.  In  the  first 

"  we  see  the  sacred  body  stretched  out  long  and  rigid, 
with  head  and  shoulder  resting  on  the  mother's  lap.  The 
Virgin  leaning  back  against  the  dark  side  of  the  rock,  a 
cleft  in  which  is  about  to  receive  the  departed,  spreads  out 
her  arms  in  loud  lamentation.  The  disciple  John  has 
grasped  the  Saviour's  right  hand  and  shows  the  bleeding 
wounds  to  the  angels  who  have  drawn  nigh  and  who  burst 
into  tears  at  the  sight.  This  group  of  St.  John  and  the 
Angels  stands  out  in  soft,  warm  tones  from  the  pale  blue 
sky.  The  pallid  flesh  colour  of  the  body  is  shown  up  with 
a  peculiar  and  striking  effect  by  this  juxtaposition  of  a 
cool,  light  tone  and  a  warm,  dark  one  on  the  one  hand, 
and,  on  the  other  hand,  by  the  pure  white  of  the  linen 
sheet  and  the  bluish  green  of  the  drapery  spread  over  the 
Virgin's  lap."— (H.  K.) 

Jordaens's  Family  Concert  is  one  of  the  best 
of  his  many  examples  illustrating  the  proverb :  "  As 


120    MUSEE  ROYAL   DES   BEAUX-ARTS 

the  old  ones  sing,  so  the  young  ones  pipe."  Al- 
though a  meal  is  served  on  the  table  around  which 
the  people  are  grouped,  no  one  is  taking  any  in-* 
terest  in  it.  The  handsome  young  woman  in  the 
centre,  who  wears  her  blue  cap  with  yellow 
plumes  and  pearls  with  such  an  air,  is  the  paint- 
er's wife.  The  little  child  in  her  arms  is  blowing 
a  pipe;  the  old  woman  in  the  high-backed  willow 
chair  is  singing  from  a  sheet  of  music;  the  old 
man  opposite  is  singing  and  beating  time;  the 
bagpipe  player  reads  also  from  his  music;  and 
the  little  boy  between  his  knees  is  playing  a  pipe. 
The  Adoration  of  the  Shepherds  differs  from 
most  of  the  religious  pictures  painted  by  Jor- 
daens. 

"  This  time  the  artist  has  managed  to  paint  a  noble, 
graceful  and  intelligent  Virgin :  the  shepherds  are  ani- 
mated with  real  piety,  and  St.  Joseph  takes  off  his  cap 
with  great  simplicity.  Moreover,  the  painting  is  fine,  har- 
monious, and  quite  different  in  touch  from  the  usual  pro- 
ductions of  this  master." — (A.  M.) 

Among  the  religious  pictures  Cornelis  de  Vos's 
St.  Norbert  Receiving  the  Host  and  Sacred 
Vessels,  that  had  been  hidden  during  a  period  of 
war  is  of  especial  interest. 

Ter  Borch's  Mandolin  Player  is  an  interior  of 
elegance,  fine  colour  and  exquisite  finish. 

Jan  Steen's  Village  Wedding  is  in  the  painter's 
merriest  mood,  and  is  an  interesting  record  of  con- 
temporary life.  The  company  is  gathered  in  a 
hall  where  a  fiddler,  standing  on  a  table,  is  play- 
ing for  the  dancers.  The  bride  is  seated  at  the 
head  of  the  table. 

In  a  different  vein  is  Samson  Insulted  by  the 
Philistines.  The  strong  man  is  seated  in  the 


ANTWERP  121 

vestibule  of  a  palace,  bound  by  ropes,  taunted  by 
children,  and  insulted  by  a  man  who  is  placing  a 
fool's  cap  upon  his  head.  His  hair  is  strewn  over 
the  floor  by  his  side.  Delilah,  on  the  left,  is  re- 
ceiving attentions  from  an  old  man  and  mocking 
at  Samson.  The  scissors  with  which  she  cut  Sam- 
son's hair  are  conspicuous  in  the  foreground. 
Musicians,  soldiers  and  many  other  people  are  vis- 
ible in  the  background. 

Rembrandt's  Dutch  Burgomaster  shows  the 
model  seated  in  an  arm-chair.  In  the  background 
a  table  with  some  books  is  discerned.  His  Old 
Jew  is  even  more  striking,  in  his  brown  doublet, 
red  and  white  turban  and  careless  necktie.  His 
beard  and  moustache  are  greyish  and  his  right  eye 
is  half-closed. 

Van  Dyck's  portraits  are  of  the  first  order, 
especially  those  of  the  Bishop  of  Antwerp,  Jean 
Malderus,  and  of  a  little  girl  with  the  two  dogs. 
The  latter,  however,  are  by  Jan  Fyt. 

A  Dutch  Lord,  by  Frans  Hals,  is  seated  with 
a  glove  in  his  gloved  right  hand.  He  is  smooth- 
shaven  ;  his  hair,  long  and  brown,  his  dark  doublet 
is  slashed  with  white  and  braided  with  yellow ;  and 
he  also  wears  a  flat  collar  and  a  black  mantle.  His 
coat-of-arms  appears  in  the  background. 
,  More  celebrated  is  the  half-length  Fisher  Boy 
of  Haarlem,  painted  about  1640. 

"  Here  in  the  sunburnt,  rather  earnest,  stupid  face  of 
the  open-mouthed  lad,  in  the  eyes  bloodshot  with  wind  and 
sand,  one  has  the  rudiments ,  of  that  sympathetic  insight 
into  the  life  itself  of  the  peasant  which  was,  however,  not 
destined  in  that  century  to  go  much  further  either  with 
Hals,  or  his  followers  There  is  a  certain  rude  pathos 
in  the  picture  which  reminds  one  that  there  was  in  Dutch 
peasant  life  a  healthier,  worthier  and  more  pathetic  side 


122     MUS£E   ROYAL   DES    BEAUX-ARTS 

than   Brouwer,   Ostade,  or  Jan   Steen  had   it   in   them  to 
see."— (G.  S.  D.) 

Gonzales  Coques  has  a  fine  Portrait  of  a  blonde 
lady  leaning  on  a  pillar.  She  has  a  watch  in  her 
hand ;  and  a  crimson  curtain  is  draped  behind  her. 

"  She  has  an  intelligent  and  benevolent  expression.  It 
is  a  painting  of  great  finish,  soft  and  sweet  colour,  and 
lights  skillfully  distributed:  a  little  salon  gem." — (A.  M.) 

Cornelis  de  Vos  has  a  curious  portrait  of 
Abraham  Graphaeus,  a  servant  of  the  Guild  of  St. 
Luke.  His  breast  is  covered  with  medals  and 
plaques,  and  he  is  about  to  place  a  large  drinking- 
cup  on  the  table  where  similar  cups  stand.  These 
were  all  cups  presented  to  the  Guild  of  St.  Luke, 
and  were  melted  down  in  1794.  They  give  the 
artist  opportunity  to  show  how  he  could  paint 
metal. 

"  Notwithstanding  the  strangeness  of  his  accoutre- 
ment, the  portrait  of  Graphaeus  is  full  of  intimacy  and 
good  nature.  It  is,  moreover,  a  painting  of  solidity,  pre- 
cision, and  soberness,  without  great  intensity  of  tone,  or 
violence  of  touch." — (P.  M.) 

Salomon  Ruysdael's  Ferry  is  remarkable  for  its 
typical  Dutch  landscape  and  action. 

The  Italians  are  generally  unimportant  here. 

True  to  the  Sienese  custom,  the  background  of 
Simone  Martini's  Annunciation  is  gold,  from 
which  the  kneeling  figure  of  Gabriel  stands  out 
boldly,  in  its  pink  and  blue  draperies.  His  wings 
are  strong,  and  he  holds  in  his  crossed  hands  a  tall 
lily  stalk.  In  his  hair  is  a  diadem. 

Antonello  da  Messina's  Crucifixion 

"  has  nothing  Flemish  in  its  treatment ;  the  landscape  and 
the  finely  conceived  motives  of  the  mourning  figures  recall 


ANTWERP  123 

Carpaccio.  Antonello  repeated  this  subject  with  various 
changes.  On  a  small  panel  in  the  National  Gallery,  the 
crucified  thieves  are  omitted  and  the  attitudes  of  the  Vir- 
gin and  St.  John  are  modified  and  perhaps  improved.  In 
the  Corsini  collection  the  Crucified  Saviour  alone  appears. 
The  three  are  equally  remarkable  for  minute  finish :  the 
two  former  for  their  carefully  executed  background,  ar»d 
for  the  vehement  yet  truthful  expression  of  the  figures." 
—  (A.  H.  L.) 

Titian's  Alexander  VI.  and  Bishop  Pesaro  is 

an  early  work. 

"  In  the  Bishop  Pesaro  Kneeling  Before  St.  Peter,  as  in 
the  Virgin  of  the  Parapet  (see  p.  321),  in  which  constant 
affinities  with  Giorgione,  Palma,  and  even  other  con- 
temporaries testify  of  youthful  effort  to  assimilate  all  the 
progress  of  those  about  him,  we  see  being  somewhat 
rapidly  accentuated  quite  an  individual  taste  for  the 
rhythmic  delicacies  of  colour  harmonies,  for  the  simple 
nobility  of  large  and  full  forms,  for  the  natural  and  bril- 
liant rendering  of  the  carnations,  stuffs,  accessories  and 
landscapes,  for  the  grave  and  affable  expression  of  the 
faces.  The  handling  of  the  brush  is  already  singularly 
lively  and  supple ;  so  that  these  first  manifestations  of  his 
youth  in  flower  retain,  in  their  exquisite  timidity,  an  indel- 
ible charm  of  poetry  and  freshness." — (G.  Laf.) 


THE   HAGUE   GALLERY 
THE  HAGUE 

THE  Hague  Gallery,  consisting  of  about  500  pic- 
tures, owes  its  origin  chiefly  to  William  V.  of 
Orange,  who  purchased  his  treasures  from  the  best 
collections  available,  such  as  the  Lomier,  Braam- 
camp  and  Slingerlandt.  The  pictures  were  sheltered 
at  first  in  the  Buitenhof ;  and  in  1820,  after  works 
were  returned  from  the  Louvre,  in  the  Mauritshuis, 
originally  the  Palace  of  Count  John  Maurice  of 
Nassau.  In  1829,  King  William  I.  bought  Rem- 
brandt's Anatomy;  and  under  William  III.  the 
gallery  was  greatly  increased.  The  collection  is 
also  greatly  indebted  to  Baron  Victor  de  Stuers. 
The  strength  of  The  Hague  Gallery  lies  in  the 
Dutch  and  Flemish  masters.  Rembrandt's  An- 
atomy, Presentation  in  the  Temple,  and  Portrait 
of  Himself  as  an  Officer;  Potter's  Bull  and 
Vache  qui  se  mire;  T.  de  Keyser's  Four  Burgo- 
masters; Ruysdael's  View  of  Haarlem;  Ver- 
meer's  Delft;  Dow's  Good  Housekeepeer;  Ter 
Borch's  Despatch;  Rubens's  Helena  Fourment; 
Teniers's  Good  Kitchen;  and  Steen's  Oyster 
Feast,  are  counted  as  the  chief  treasures. 

The  most  famous  picture  by  Rembrandt  is  the 
Anatomy  Lesson,  which  established  the  paint- 
er's reputation.  Soon  after  Rembrandt's  arrival  in 
Amsterdam,  he  received  an  order  from  Dr.  Tulp  to 
represent  him  at  an  operation,  to  be  hung  in  the  dis- 
secting room  of  the  Amsterdam  Guild  of  Surgeons. 
Although  Rembrandt  followed  the  general  plan  of 

124 


HELENA  FOURMENT— Rubens 

THE    HAGUE 


THE  FIDDLER— A.  Fan  Ostade 

THE    HAGUE 


THE    HAGUE  125 

the  famous  anatomy  pictures  of  the  day,  he  showed 
his  genius  in  the  arrangement  of  the  figures  and 
their  illumination. 

"  The  circumstances  and  the  way  it  is  painted  deprive 
the  picture  of  all  disgust.  In  contrast  with  his  predeces- 
sors, Rembrandt  has  painted  his  doctors,  not  as  if  they 
were  having  their  photographs  taken  and  gazing  at  the 
spectator,  but  in  the  most  natural  way — some  looking  at 
the  body  and  some  at  the  lecturing  Dr.  Tulp.  Tulp  him- 
self quiet,  and  explaining  his  subject  with  the  greatest 
authority.  The  body  is  painted  in  a  masterly  manner, 
and  the  portraits  are  beyond  all  praise." — (B.) 

All  critics  agree  that  the  Presentation  in  the 
Temple,  also  called  Simeon  in  the  Temple,  is 

Rembrandt's  first  important  work.  Beneath  the 
high  roof  of  a  temple  supported  by  tall  columns, 
the  Virgin  and  St.  Joseph  make  their  offering,  and 
present  the  Holy  Child  to  the  Lord.  Simeon,  in 
a  robe  glittering  with  gold,  holds  the  Infant;  and 
the  High  Priest  stands  in  front  of  the  group  with 
his  hands  lifted  in  ecstasy.  The  latter's  robe  of 
violet  makes  a  beautiful  note  of  colour,  which  is 
carried  through  the  lights  and  shadows.  In  the 
vaporous  distance,  other  persons  are  discerned 
ascending  and  descending  the  steps.  All  the 
light  is  concentrated  on  the  central  group,  and 
the  cold,  mysterious  depths  of  the  vast  fane  are 
expressed  with  marvellous  skill. 

"  How  appropriately  are  the  groups  distributed  beneath 
the  fantastic  vaults!  How  masterly  is  the  chief  group  in 
the  middle  distance!  How  complete  in  drawing  and  ac- 
tion is  every  single  figure,  though  so  minute !  How  pow- 
erfully is  the  light  sprinkled  over  the  chief  figures  before 
it  slowly  melts  away  into  the  mystic  darkness  of  the 
broad  nave  whereby  that  peculiar  mood  of  reverence — 
the  holy  calm  of  the  place — results  as  the  most  happy 
effect  of  handling." — (B.) 


126  THE   HAGUE   GALLERY 

Susanna,  about  to  step  into  the  bath,  and 
alarmed  by  the  presence  of  the  two  Elders  who 
are  lurking  in  the  shrubbery,  is  a  splendid  piece 
of  painting  as  regards  flesh.  Both  Bode  and 
Burger  think  Rembrandt's  wife  Saskia  was  the 
model. 

"  Placed  by  the  side  of  the  School  of  Anatomy  and  the 
Simeon,  the  merits  of  this  work  are  too  often  overlooked. 
Yet  Susanna,  strongly  relieved  against  a  dark  back- 
ground, is  one  of  the  most  interesting  female  figures  ever 
painted  by  Rembrandt,  being  remarkably  faithful  to 
nature,  though  not  of  classic  beauty." — (W.  B.) 

David  Playing  the  Harp  Before  Saul  dates  from 
Rembrandt's  ripest  period  (about  1660),  and  is 
one  of  his  most  important  Biblical  compositions. 

"  The  big  Saul  listening  to  the  playing  of  David  is  still 
mystifying.  Is  Saul  smiling  or  crying  behind  the  uplifted 
cloak?  Is  he  contemplating  in  his  neurasthenia  the  at- 
tempt on  David's  life  with  a  whizzing  lance?  His  sunken 
cheeks,  vague  yet  sinister  eye,  his  turban  marvellous  in  its 
iridescence,  form  an  ensemble  not  to  be  forgotten.  David 
is  not  so  striking.  From  afar  the  large  canvas  glows, 
and  the  chiaroscuro  is  miraculous."— -(J.  G.  H.) 

Homer  Reciting  His  Poems,  an  old  man  in  a 
yellow  robe,  and  several  portraits  complete  the 
Rembrandts.  Among  the  latter  are  two  of  Rem- 
brandt's own  likenesses :  one  at  the  age  of  twenty- 
two  or  three,  wearing  a  steel  cuirass,  and  painted 
in  so  strong  a  manner  and  with  such  deft  manage- 
ment of  light  and  shade  that  the  future  style  of  the 
painter  is  foreshadowed  in  it.  The  second  work, 
about  six  years  later,  is  familiar  to  every  one. 

"  A  portrait  of  a  young  man  by  Rembrandt,  dressed  in 
a  black  cap  and  feathers,  the  upper  part  of  the  face  over- 
shadowed ;  for  colouring  and  force  nothing  can  exceed 
if '-(J.  R.) 


THE   HAGUE  127 

Paul  Potter  has  three  famous  pictures  here :  first 
comes  The  Bull,  painted  when  the  artist  was  but 
twenty-two. 

"  A  great  bull  in  a  vast  plain,  an  immense  sky,  and  no 
horizon,  so  to  speak, — what  better  opportunity  is  there  for 
a  student  to  learn  once  for  all  a  host  of  very  difficult 
things,  and  to  know  them,  as  they  say,  by  rule  and  com- 
pass. The  action  is  very  simple ;  he  did  not  fail  with  it ; 
the  movement  is  true,  and  the  head  admirably  full  of 
life.  The  beast  has  his  age,  his  type,  his  character,  his 
disposition,  his  length,  his  height,  his  joints,  his  bones,  his 
muscles,  his  hair  rough  or  smooth,  in  flocks  or  curls,  his 
hide  loose  or  stretched, — all  is  perfection.  The  head,  the 
eye,  the  neck  and  shoulders,  the  chest,  from  the  point  of 
view  of  a  naive  and  powerful  observation,  form  a  very 
rare  specimen,  perhaps,  really  without  an  equal.  I  do  not 
say  that  the  pigment  is  beautiful,  nor  that  the  colour 
is  well  chosen ;  pigment  and  colour  are  here  subordinated 
too  visibly  to  preoccupations  of  form  for  us  to  exact  much 
on  that  head,  when  the  designer  has  given  all,  or  nearly 
all,  under  another.  Moreover,  the  work  in  that  field  ac- 
complished with  such-  force  results  in  rendering  nature 
exactly  as  she  is,  in  her  reliefs,  her  nuances,  and  her 
power,  and  almost  in  her  mysteries.  It  is  not  possible  to 
aim  at  a  more  circumscribed  but  more  formal  result  and 
attain  it  with  more  success.  People  say  Paul  Potter's 
Bull,  and  that  is  not  enough,  I  assure  you :  they  might 
say  The  Bull,  and,  in  my  opinion,  that  would  be  the  great- 
est eulogy  that  could  be  bestowed  upon  this  work,  so 
mediocre  in  its  weak  parts  and  yet  so  decisive." — (E.  F.) 

La  Vache  qui  se  mire  was  painted  a  year  later 
(1648)  than  the  above. 

"  In  my  opinion  it  is  a  chef-d'oeuvre  and  not  merely 
an  hors-d'oeuvre  like  The  Bull.  Paul  Potter  has  painted 
here  what  he  never  did  elsewhere — nude  figures !  Yes, 
bathers,  which  made  Smith  call  the  picture  The  Bathers. 

The  left  foreground  is  occupied  by  a  strip  of  water. 
On  the  bank  in  the  centre  is  a  clump  of  willows;  some 
sheep  and  a  goat  are  lying  down  in  the  meadow;  a  cow 
comes  down  to  drink;  another  cow  and  a  sheep  stand 
knee-deep  in  the  water  that  reflects  their  images.  How 


128  THE   HAGUE   GALLERY 

pretty  the  inverted  little  dun  cow  looks  in  this  mirror! 
Farther  to  the  left,  bathers  are  swimming  and  sporting 
in  the  water  and  undressing  on  the  bank.  These  little 
figures  are  wonderful  in  drawing,  modelling  and  action, 
especially  one  standing  with  his  back  to  the  spectator. 
In  the  middle  distance,  we  see  a  little  carriage  drawn  by 
six  horses,  some  trees  and  a  village ;  and,  on  the  distant 
horizon,  a  town  in  miniature.  On  the  right,  near  a 
cottage,  a  woman  is  milking  a  black  cow  on  which  a 
peasant  is  leaning  as  he  talks  to  her.  Two  cows  are 
lying  beside  them.  The  grass  and  flowers  are  as  fine  and 
beautifully  coloured  as  in  the  pictures  of  John  van  Eyck 
and  Memling.  The  sky  has  dropped  her  wintry  veil,  and 
everything  is  radiantly  gay.  The  picture,  of  the  most 
exquisite  quality,  is  painted  on  wood." — (W.  B.) 

The  third  Potter  is  a  Landscape  with  Cows 
and  Pigs. 

"  Mist  effects  over  the  ground,  with  much  light  in  the 
sky,  and  little  clouds,  fine  and  light,  of  a  pale  golden  hue. 
This  is  one  of  those  frequent  Autumn  struggles  between 
the  sun  and  haze ;  the  leaves  on  the  trees  are  already 
dry  and  reddened.  In  this  warm  picture,  Paul  Potter, 
sometimes  somewhat  dry  and  cold,  is  as  vaporous  as 
Claude  Lorrain,  as  broad  and  firm  as  Cuyp,  and  as  har- 
monious as  Adriaen  Van  de  Velde."  (W.  B.) 

Of  Rubens  we  have  to  examine  three  portraits 
and  three  fanciful  works.  Naiads  Filling  the 
Horn  of  Plenty  was  once  assigned  to  Hendrik 
Van  Balen.  The  landscape  is,  however,  by  Velvet 
Brueghel,  who  also  aided  Rubens  in  Adam  and 
Eve  in  Paradise.  Some  critics  think  that  Venus 
and  Adonis  is  a  copy. 

Father  Michael  Ophovius,  a  Dominican  monk, 
who  had  been 'made  Bishop  of  Bois-le-Duc,  by 
Rtibens's  influence,  is  here  portrayed  in  the  cos- 
tume of  his  order.  It  is  a  broad  and  vigorous 
painting.  Rubens's  two  wives  are  both  busts — 
Isabella  Brandt,  painted  about  1618,  wears  a  black 


THE   HAGUE  129 

dress,  cut  square  in  the  neck,  the  bosom  slightly 
covered  with  gauze  and  pearls  in  her  hair.  A 
green  curtain  forms  the  background,  behind 
which  is  a  glimpse  of  the  sky.  Burger,  who 
greatly  admired  this  picture,  went  into  raptures 
over  the  hands.  Dr.  Bredius,  however,  thinks 
the  hands  may  have  been  painted  by  Van  Dyck; 
but  he  concludes  that  the  second  portrait  is  un- 
doubtedly all  Rubens's  work.  Sir  Joshua  Rey- 
nolds considered  both  fine  portraits,  but  "  Eleanor 
Forman,"  by  far  the  most  beautiful  and  the  best 
coloured.  Her  face  is  brilliant  and  beautiful 
in  colour  and  expression.  Her  eyes  are  bright 
and  her  red  mouth  about  to  smile.  The  costume  is 
exquisite :  the  dress  is  blue  satin,  the  sleeves  being 
slashed  with  white;  a  black  velvet  cloak  with -fur 
collar  and  gold  buttons ;  a  velvet  toque  adorned  with 
a  long  plume,  and  magnificent  jewels.  In  her  right 
hand  she  holds  two  pink  roses.  A  red  curtain  is 
looped  above  the  grey  background. 

"What  flesh!  What  brilliance!  What  glow  of  colour! 
What  virtuosity  in  the  painting  of  the  details  and  the 
material !  What  life  streams  from  this  warm,  youthful, 
proud  wife  upon  her  husband!" — (B.) 

Blanc  ranks  Thomas  de  Keyser's  Four  Burgo- 
masters with  Rembrandt's  Syndics,  and  Ter 
Borch's  Peace  of  Minister.  The  figures  are  only 
eight  and  a  half  inches  high.  Four  old  men  dressed 
in  black  are  gravely  considering  how  to  entertain 
Marie  de'  Medici,  when  a  messenger  enters,  hat 
in  hand,  to  announce  her  arrival. 

"  All  the  costumes  being  black — that  beautiful,  warm, 
transparent  silky  black  peculiar  to  Velasquez  and  Antonio 
Moro — you  only  notice  in  this  picture  the  hands  and  the 
heads.  The  heads  have  an  expression  that  will  remain 
engraven  in  the  mind  forever,  for  the  painter  has  ac- 


i3o  THE   HAGUE   GALLERY 

cented   them   so   deeply   and   brought   into   contrast   both 
physical  and  moral  features." — (B.) 

The  Portrait  of  a  Scholar  is  also  one  of  De 
Keyser's  masterpieces.  The  face,  full  of  fire  and 
energy,  stands  out  vividly  from  the  black  costume 
and  sober  background.  The  left  hand  turning  the 
leaves  of  a  book  that  lies  on  a  table  is  finely  painted, 
but  the  right  hand  that  rests  on  his  hip  is  a  triumph 
of  technique. 

Of  Frans  Hals,  there  are  but  two  portraits — 
Jacob  Olycan  of  Haarlem  and  his  wife,  Aletta 
Hanemans — splendidly  modelled  and  executed 
with  the  great  painter's  characteristic  sweeps  of 
the  brush  and  palette  knife  that  bring  the  person- 
ality of  the  subject  before  us  as  if  in  life  itself. 
•  Of  Van  Dyck's  three  portraits,  that  of  the  painter 
Quentin  Simons  has  always  been  particularly  ad- 
mired by"  critics. 

"  This  is  one  of  the  very  few  that  can  be  seen  of  Van 
Dyck  which  is  in  perfect  preservation ;  and  on  examining 
it  closely  it  appeared  to  me  a  perfect  pattern  of  portrait- 
painting — every  part  is  distinctly  marked,  but  with  the 
lightest  hand  and  without  destroying  the  breadth  of  light; 
the  colouring  is  perfectly  true  to  nature,  though  it  has  not 
the  brilliant  effect  of  sunshine,  such  as  is  seen  in  Rubens's 
wife;  it  is  nature  seen  by  common  daylight." — (J.  R.) 

The  other  two  portraits  are  of  Sir  Shef- 
field in  a  large  cloak  and  holding  a  glove  in  one 
hand,  and  his  wife,  Anna  Wake,  dressed  in  black 
silk  with  slashed  sleeves,  lace  fichu  and  pearl 
necklace. 

Van  der  Heist's  life-size  picture  of  Paul  Potter 
is  said  to  have  been  painted  three  days  before  his 
death. 

"  This  precious  portrait  of  superb  execution  was  painted 


THE    HAGUE  131 

by  Van  der  Heist  at  one  sitting  doubtless,  with  an  al- 
together magistral  stroke,  as  the  painters  of  that  day  did. 
In  it  we  admire  the  certitude  and  simplicity  of  the  design, 
the  calm  frankness  of  the  touch,  the  truth  of  the  tone, 
and  in  the  general  expression  a  kind  of  eloquent  sincerity 
which  communicates  to  the  spectator  the  intimate  emotion 
which  the  portraitist  felt  in  the  presence  of  nature.  Van 
der  Heist,  usually  somewhat  cold,  must  have  been  strongly 
moved  on  that  day  when  contemplating  the  young  and 
glorious  artist  who  was  about  to  die." — (W.  B.) 

Among  the  other  portraits  to  be  especially  noticed 
is  one  of  a  goldsmith  by  A.  Moro,  one  of  his  best 
works ;  and  several  by  Rembrandt's  forerunner, 
Jan  Van  Ravesteyn,  including  the  Countess  of 
Hanan.  Adriaen  Key's  William  the  Silent  is 
also  celebrated.  Bol's  portrait  of  Admiral  de 
Ruyter's  Son  is  one  of  this  artist's  mature  works, 
but  the  great  admiral's  picture  is  a  copy  after 
Bol. 

Four  portraits  here  are  attributed  to  Holbein. 
One  is  a  copy  of  Jane  Seymour  (the  original 
of  which  is  in  the  Belvedere)  ;  another  is  the 
original,  or  copy,  of  a  Young  Woman,  and  the 
others  are  each  of  a  Man  holding  a  Falcon,  each 
a  marvel  of  masterful  handling  and  vital  force. 

The  early  masters  are  scarce  here.  Massys 
has  a  Virgin  in  Glory,  with  her  son  in  her  arms, 
standing  on  the  crescent  moon  and  surrounded  by 
angels.  When  St.  Donatian  Cathedral,  Bruges, 
was  demolished,  it  was  found  mortared  up  be- 
tween two'  walls,  where  it  had  been  since  the 
days  of  the  Iconoclasts.  Though  seriously  in- 
jured by  falling  bricks,  it  has  been  restored  with 
the  most  tender  care. 

To  Memling  and  to  Roger  Van  der  Weyden  an 
unknown  Descent  from  the  Cross  has  been  at- 


132  THE   HAGUE   GALLERY 

tributed;  but  although  the  attribution  has  not 
been  determined,  the  work  is  a  characteristic  ex- 
ample of  the  early  Flemish  School.  Memling 
has  a  fine  male  portrait. 

Dow's  Good  Housekeeper  is  one  of  the  gems  of 
the  gallery.  It  was  so  highly  valued  in  its  day  that 
when  Charles  II.  left  Holland  for  his  Restoration 
to  the  English  throne,  the  directors  of  the  East  In- 
dia Company  bought  this  picture  and  presented  it  to 
him.  William  III.  brought  it  back  to  Holland.  The 
work  is  dated  1658;  and,  although  it  has  darkened, 
it  is  still  full  of  rich  colour.  It  needs  careful  study, 
for  it  is  full  of  detail.  First,  we  look  at  the  group 
in  the  foreground  on  which  the  stream  of  light  falls 
— the  young  mother,  who,  handsomely  dressed  and 
sewing  by  the  side  of  a  cradle,  where  a  little  servant 
is  watching  the  baby,  looks  up  at  the  spectator  in  a 
friendly  way.  She  has  evidently  just  returned  from 
market,  for  there  is  an  unplucked  fowl  in  a  basket 
on  the  window  seat,  an  unplucked  bird  on  a  table 
with  a  cabbage,  a  hare  hangs  on  the  wall,  and  there 
is  a  fish  on  a  platter  on  the  floor  near  a  pot  and  a 
bunch  of  marvellously  painted  carrots.  The  room 
that  seems  to  serve  as  hall,  dining-room  and  kitchen 
betokens  wealth  and  comfort.  The  brass  chande- 
lier of  splendid  design  should  be  noted. 

"  Dow  carried  subtlety  of  execution  almost  to  its  high- 
est pitch,  and  spared  no  pains  to  accomplish  his  aim.  He 
not  only  rubbed  his  own  colors,  but  he  prepared  his  own 
varnish,  and  made  all  the  very  fine  brushes  he  needed  for 
his  work,  expending  on  his  painting  an^  unlimited  amount 
of  care  and  patience  on  even  insignificant  and  secondary 
objects.  Sandrart  relates  how  he  was  struck  on  visiting 
Dow's  studio  by  the  wonderfully  careful  execution  of  a 
broom,  Dow  remarking  that  it  required  three  days'  more 
work.  One  of  his  finest  pictures  in  the  Mauritshuis  makes 
this  anecdote  almost  credible.  It  represents  a  lovely 


THE    HAGUE  133 

young  woman  sitting  at  an  open  window.  She  is  busied 
with  some  work  and  is  just  looking  up.  Near  her  is  a 
child  in  a  cradle,  over  which  a  young  girl  is  bending. 
One  seldom  sees  a  picture  so  full  of  peace,  geniality,  and 
bliss.  It  is  an  idyll  of  quiet,  silent  happiness.  In  this 
picture  there  is,  among  other  things,  a  broomstick  in 
which  every  fibre  of  the  wood  is  so  faithfully  rendered 
that  it  is  easy  to  believe  it  took  a  few  days  to  paint  it." — 
(A.  G.) 

Two  of  Jan  Steen's  famous  compositions,  the 
Steen  Family  and  the  Oyster  Feast,  are  com- 
panion pieces  both  in  subject  and  dimensions.  They 
represent  family  festivals  participated  in  by  the 
master's  nearest  relatives.  They  are  full  of  life  and 
humour,  and  are  strong  in  colour  and  forceful  in 
execution. 

Two  pictures  of  the  Doctor's  Visit,  which  was 
a  favourite  subject  of  Steen's,  are  also  universally 
esteemed.  The  most  remarkable  composition  here, 
however,  is  the  Menagerie.  This  is  a  charming 
picture  of  birds,  a  child  feeding  a  lamb  and  two 
farm  servants. 

"  Jan  Steen  has  taken  great  pleasure  in  painting  it  after 
nature  and  has  put  into  it  all  his  realistic  and  expressive 
science.  The  head  of  the  fellow  with  the  basket  of  eggs 
is  marvellously  realistic,  and  I  do  not  believe  that  either 
Jan  Steen  or  any  other  of  the  Dutch  Little  Masters  ever 
produced  a  head  more  life-like  and  correctly  modelled. 
This  painting,  so  free  in  drawing,  so  firm  in  execution, 
so  scrupulous  in  detail,  so  simple  and  just  in  lighting, 
resembles  no  other  by  this  master  and  at  first  sight  one 
might  be  embarrassed  to  name  the  painter." — (B.) 

Two  small  pictures  by  Adriaen  Van  Ostade, 
Peasants  in  an  Inn  and  the  Fiddler,  are  famous 
companion  pieces.  The  first  is  enlivened  with  eight 
personages  and  a  dog.  The  company  is  smoking, 
drinking  and  playing  and  singing.  A  child  is  also 


i34  THE   HAGUE   GALLERY 

amusing  herself  with  a  little  white  spaniel.    Burger 
says  it  is  perfect  in  style,  spirit  and  colour. 

The  Fiddler  is  even  more  generously  furnished 
with  figures  of  rustic  life.  The  open  air  lends  even 
more  varied  light  effects  for  the  embellishment  of 
the  charming  vine-covered  cottage  and  the  villagers 
grouped  around  listening  with  delight,  or  with 
mockery,  to  the  itinerant  fiddler. 

"  The  painter  was  sixty-three  years  old.  One  would 
not  suspect  it  after  seeing  the  frank  gaiety  of  the  com- 
position, the  delightful  freshness  of  the  colour,  the  abund- 
ance and  at  the  same  time  the  sureness  of  the  handi- 
work."—(W.  B.) 

David  Teniers  the  Younger  is  represented  by  his 
masterpiece,  the  Good  Kitchen.  The  young 
housewife,  surrounded  by  abundance  of  fish, 
game,  meat,  fruit  and  vegetables,  evidently  pro- 
vided for  a  feast,  is  peeling  a  lemon,  while  cooks 
are  seen  in  the  background  busy  at  the  spit. 
She  wears  a  crimson  skirt,  a  blue  bodice  and  a 
broad  collar  of  white  that  Metsu  would  have 
envied. 

"  The  whole  is  painted  with  great  breadth  and  ease, 
with  that  true  and  free  touch  and  those  witty  accents  that 
characterise  the  works  of  Teniers.  The  date  is  1644, 
during  his  best  days  when  his  silvery  period  was  begin- 
ning."—(W.  B.) 

A  characteristic  work  by  Metsu  is  the  Amateur 
Musicians,  sometimes  called  a  Lady  Writing,  a 
group  that  exhibits  this  painter's  fine  feeling  for 
colour  and  the  portrayal  of  high  life. 

"  In  the  centre  is  seated  a  young  woman  who  is  writ- 
ing. She  wears  a  cherry-coloured  velvet  jacket  bordered 
with  ermine,  a  jonquil-coloured  skirt  edged  with  silver, 
a  light  blue  apron  and  a  white  cap  over  which  is  thrown 


THE    HAGUE  135 

a  black  veil.  The  tip  of  her  little  red  slipper  rests  on  a 
foot-warmer.  A  gentleman,  dressed  in  black  and  holding 
his  hat  in  his  left  hand,  is  leaning  on  the  back  of  her 
chair.  On  the  other  side  of  the  table  on  which  is  an 
Oriental  carpet  a  young  girl  stands  playing  the  lute.  Be- 
hind her  is  a  mantelpiece  surmounted  by  a  picture.  From 
the  ceiling  hangs  a  copper  chandelier.  In  the  foreground 
on  the  right  is  a  spaniel." — (W.  B.) 

Sir  Joshua  Reynolds  greatly  admired  the  picture 
of  Frans  Van  Mieris  and  His  Wife,  although 
he  did  not  know  who  the  personages  were.  The 
artist  is  standing  by  his  wife's  side  and  playfully 
pulling  the  ear  of  the  little  spaniel  that  she  holds  in 
her  lap,  while  she  gently  pushes  him  away  with 
her  right  hand.  The  little  dog's  mother  is  also 
trying  to  jump  into  the  lady's  lap  to  protect  the 
puppy.  The  table-cloth  and  the  lute  lying  on  it 
are  marvellously  painted. 

Soap  Bubbles  is  likewise  one  of  Van  Mieris's 
best  works.  Every  detail  is  perfect :  the  boy  blow- 
ing bubbles  at  an  epen  window  framed  with  creep- 
ers; the  fragile  bubbles,  with  their  prismatic  re- 
flections ;  the  boy's  red  hat  with  white  plumes  lying 
on  the  window  sill,  near  a  bottle  in  which  is  a  spray 
of  heliotrope ;  the  cage  hanging  above,  and  the  wo- 
man with  a  dog  in  her  arms  in  the  background. 

Ter  Borch's  Portrait  of  Himself  as  Burgo- 
master of  Deventer,  at  the  age  of  fifty,  is  a  strik- 
ing work. 

"  The  background,  like  the  floor,  is  a  neutral  grey  and 
the  whole  of  this  envelopment  of  the  figure  forms  a  fine 
harmony  recalling  certain  sweet  portraits  of  Velasquez  in 
which  there  seems  to  be  only  atmosphere  around  the  per- 
sonage."—(W.  B.) 

The  Despatch,  called  also  the  Interruption,  is 


136  THE   HAGUE   GALLERY 

full  of  life  and  expression,  and  is  regarded  as  one 
of  the  most  charming  compositions  of  this  master. 
The  full  brilliance  of  its  colour  has  been  retained 
in  the  figures. 

Nine  splendid  examples  of  Philip  Wouvermans 
are  counted  among  the  special  treasures  of  the  gal- 
lery. These  include  the  Arrival  and  Departure 
from  the  Inn;  the  Hunter's  Halt;  the  Hunt 
with  Falcon;  and  the  Hay  Wain.  These  pic- 
tures exhibit  this  painter  in  his  three  manners,  of 
which  his  middle  one  is  the  best,  according  to  some 
critics,  while  others  prefer  his  more  forceful  last 
period. 

"  Besides  his  great  skill  in  colouring,  his  horses  are 
correctly  drawn,  very  spirited,  of  a  beautiful  form,  and 
always  in  unison  with  their  ground.  Upon  the  whole  he 
is  one  of  the  few  painters  whose  excellence  in  his  way  is 
such  as  leaves  nothing  to  be  wished  for." — (J.  R.) 

Four  fine  examples  of  Jacob  Van  Ruysdael  are 
among  the  treasures  of  the  gallery.  First  let  us 
notice  the  View  of  Haarlem  taken  from  the 
Dunes  of  Overveen,  a  bird's-eye  view  of  an  im- 
mense stretch  of  country. 

"  In  the  foreground  on  a  level  and  well-mown  meadow, 
long  strips  of  white  linen  are  spread  on  the  grass  to 
bleach.  A  little  to  the  left  are  grouped  the  houses  of  the 
washerwomen.  Beyond,  the  eye  loses  itself  in  the  vast 
expanse  of  country,  uniformly  level  and  almost  devoid  of 
trees  and  dwellings.  Very  far  away  on  the  horizon  is 
dimly  discerned  the  town  of  Haarlem  with  its  bell-tower. 
And  all  these  miles  of  country  are  represented  on  a  little 
canvas  only  one  foot  eight  inches  high!" — (W.  B.) 

Ruysdael  painted  many  cascades ;  but  the  Cas- 
cade in  this  gallery  is  one  of  his  best.  The  water 
falls,  rebounds,  foams  and  sparkles  in  the  fore- 


THE   HAGUE  137 

ground.  In  the  left  background  there  is  a  forest ; 
and,  on  the  right,  a  hill  surmounted  by  a  building. 
A  stormy  sky  overshadows  the  whole. 

Heavy  gathering  clouds  that  predict  a  coming 
storm  and  from  which  only  dim  and  broken  light  is 
sifted  upon  the  water  and  shipping  render  the 
Beach  at  Scheveningen  a  specimen  of  the  Dutch 
painter's  poetic  gifts.  On  the  left  are  the  sand 
dunes;  on  the  right  little  boats  ride  the  waves. 
The  strand  is  animated  by  tiny  figures  of  men  and 
women,  painted  by  some  other  hand,  probably 
Esaias  Van  de  Velde's. 

The  fourth  picture  is  a  View  of  the  Vyver  at 
The  Hague. 

Molenaer's  Five  Senses  in  five  small  panels  are 
reminiscent  of  Hals  and  Brouwer. 

Abraham  Begeyn's  Quarry  is  a  broad  and 
spirited  composition. 

Simon  de  Vlieger,  the  first  to  represent  the  ocean 
in  its  varying  moods,  famous  for  his  free,  soft 
touch  and  aerial  perspective,  can  be  seen  in  the 
Beach  at  Scheveningen,  a  splendid  example  of 
his  style. 

"  The  diversity  of  his  subjects,  the  talent  he  displays  in 
grouping  figures  and  animals  in  an  extensive  landscape  or 
a  boat  gliding  along  a  canal,  or  on  the  beach  at  Scheven- 
ingen, where,  in  The  Hague  picture,  we  see  them  hud- 
dling together  as  if  the  ocean  had  just  cast  them  ashore 
with  its  shells  and  fishes ;  the  art  of  lighting  them  so  as 
to  delight  the  eyes  without  too  greatly  distracting  the  mind 
from  the  spectacle  of  vast  nature  and  the  infinite  ocean — 
all  that  makes  Simon  de  Vlieger  one  of  the  most  remark- 
able Dutch  masters." — (B.) 

Let  us  now  turn  to  his  supposed  master — Jan 
van  Goyen.  Here  we  find  his  famous  View  of 
the  City  of  Dordrecht  and  a  Rough  Sea. 


138  THE   HAGUE   GALLERY 

Adriaen  Van  de  Velde's  Beach  at  Scheven- 
ingen  is 

"  a  little  pearl  of  art,  extremely  interesting  for  the  ad- 
mirable truth  of  the  aerial  perspective  and  the  local  tints 
of  its  colour." — (J.  S.) 

Animals  in  a  Landscape  is  another  pearl  of 
the  most  precious  quality.  It  is  exquisite  in  col- 
our. Though  the  animals  are  numerous,  they  are 
painted  in  miniature,  for  the  panel  is  only  one  foot 
high. 

One  of  the  most  beautiful  pictures  in  the  gallery 
is  Vermeer's  View  of  Delft: 

"  All  the  light  which  the  artist  saw  fall  upon  his  town, 
he  has  succeeded  in  concentrating  at  once  in  this  picture : 
the  broad,  masterful,  sure  painting,  the  luminous  colours, 
and  the  clear  sky  which  arches  over  the  town,  all  excite 
our  highest  admiration." — (B.) 

A  late  acquisition  that  deserves  particular  atten- 
tion is  his  Portrait  of  a  Girl,  very  striking  in 
costume  and  colour,  with  marvellously  painted 
earrings. 

"  The  head  of  a  young  girl  by  Vermeer,  with  its  blue 
turban  and  buff  coat,  its  pearl  earrings,  is  charming.  And 
the  'View  of  Delft'  seems  as  fresh  as  the,  day  it  was 
painted.  The  long  fagade  of  the  houses  and  warehouses 
and  the  churches  and  towers  facing  the  river  are  rendered 
with  a  vivacity  of  color,  a  solidity  in  drawing  and  an 
absence  of  too  marked  literalism  which  prove  that  this 
gifted  artist  had  more  than  one  style.  The  envelope  is 
luscious ;  there  is  air,  though  it  be  stagnant.  Down-stairs 
is  an  allegorical  subject,  'The  New  Testament/  which  is 
not  very  convincing  as  a  composition,  but  warm  in  tint. 
The  '  Diana  and  Her  Companion '  must  have  inspired 
Diaz  and  many  other  painters.  But  the  real  Vermeer, 
the  Vermeer  of  the  enamelled  surfaces  and  soft  pervasive 
lighting,  is  at  Amsterdam." — (J.  G.  H.) 


T 

SI 

•J  3 
<&  a 


THE    HAGUE  139 

Vigorous  in  colour  and  striking  for  its  knowl- 
edge of  chiaroscuro  is  the  Adoration  of  the  Magi, 
once  attributed  to  G.  van  den  Eeckhout,  and 
now  known  to  be  the  work  of  Salomon  Koninck. 
One  of  the  Magi  has  a  rich  golden  mantle  and  an- 
other one  of  red. 

Snyders  has  two  large  compositions  of  fine  dec- 
orative effect :  in  the  Stag  Hunt,  Rubens  painted 
the  landscape;  and  in  the  Kitchen,  the  female 
figure. 

A  beautiful  picture  of  Flowers  by  Abraham 
Van  Beyeren,  also  one  of  Fish  and  Lobster,  are 
noteworthy  examples  of  this  genre.  Shells, -by 
Balthasar  Van  der  Ast,  is  also  both  curious  and 
interesting. 


THE  RIJKS   MUSEUM 
AMSTERDAM 

THE  Gallery  of  Pictures  in  the  Rijks  Museum 
consists  of  about  2000  paintings,  the  nucleus  of 
which  was  formed  by  the  Prince  of  Orange.  In 
1798,  the  National  Museum  was  opened  at  the 
House  in  the  Wood,  near  The  Hague ;  and  in 
1808  was  removed  to  Amsterdam,  to  the  Palace 
on  the  Dam.  The  collection  was  greatly  en- 
riched from  various  sources.  In  1814,  the 
pictures  were  removed  to  the  Trippenhuis,  and 
in  1885  to  the  Rijks  Museum.  Among  the  special 
bequests  are  the  Van  der  Hoop  Collection 
(1854);  the  Dupper  (1870);  the  Bicker  (1879); 
the  Van  de  Poll  (1880) ;  and  the  second  Van  der 
Hoop  (1880). 

The  Rijks  Gallery  is  distinguished  above  all 
others  for  the  number  of  "  Corporation  "  pictures 
it  contains,  and  pictures  of  assemblages  of  notabili- 
ties at  banquets,  and  in  military  companies.  The 
three  most  important  of  these,  which  are  also  the 
most  important  in  the  gallery,  are  Rembrandt's 
Night  Watch  and  Syndics,  and  Van  der  Heist's 
Civic  Guard  Banquet  and  Captain  Roelof  Bicker's 
Company.  Next  to  these  come :  Frans  Hals's 
Captain  Reael's  Company  of  Arquebusiers ;  Karel 
du  Jardin's  Directors  of  the  House  of  Correction; 
Govaert  Flinck's  Company  of  Arquebusiers;  N. 
Elias's  Banquet  of  Captain  J.  Backer's  Company ; 
Santvoort's  Manageresses  of  the  Amsterdam 
140 


AMSTERDAM  141 

House  of  Correction;  Pietersen's  Staalmeesters ; 
and  Bol's  Regents  of  the  Leper  Hospital,  and  its 
companion,  the  Female  Directors,  which  Burger 
ranks  on  an  equality  with  the  Rembrandts.  The 
raison  d'etre  and  characteristics  of  these  great 
works  are  described  as  follows: 

"  Commissioned  by  the  Guild  of  Drapers,  or  Goth- 
Workers,  to  paint  a  portrait  group  of  their  Syndics  for  the 
Hall  of  the  Corporation,  Rembrandt  in  1661  delivered  to 
them  the  great  picture  which  formerly  hung  in  the  Cham- 
ber of  the  Controllers  and  Gaugers  of  Cloth,  at  the  Staal- 
hoff.  At  Amsterdam,  they  formed  a  conspicuous  body; 
and  an  admirable  work,  also  in  the  Ryksmuseum,  painted 
by  Aert  Petersen  in  1599,  has  immortalized  the  Six 
Syndics  of  the  Cloth  Hall  of  that  date.  On  this  brilliant 
and  perfectly  preserved  panel,  the  arrangement  of  the  six 
figures  has,  it  is  true,  a  somewhat  accidental  appearance, 
and  evidently  cost  the  artist  little  trouble.  But  the 
frankly  modelled  heads  have  a  startling  energy  and  in- 
dividuality, notably  that  of  the  central  figure. 

"  The  model  traders  of  Holland  brought  the  qualities 
they  had  acquired  in  the  exercise  of  their  calling  to  bear 
upon  their  management  of  public  business,  and  it  was  not 
unusual  for  the  most  prominent  among  them,  who  had 
proved  their  capacity  in  the  administration  of  their  various 
guilds,  to  be  elected  councillors  and  burgomasters,  or  to 
undertake  the  management  of  those  charitable  institutions 
which  abounded  in  all  the  Dutch  towns.  As  was  the 
custom  among  the  military  guilds,  which  gradually  de- 
clined as  the  civic  corporations  increased  in  importance, 
it  became  a  practice  among  the  latter  to  decorate  their 
halls  with  the  portraits  of  their  dignitaries.  Whatever  the 
character  of  the  Company,  the  manner  of  representation 
differed  little  in  these  portraits.  Save  in  the  case  of  the 
Anatomy  Lesson,  painted  for  the  guilds  of  Physicians  and 
Surgeons,  or  some  few  awkwardly  rendered  episodes  in- 
spired by  the  distribution  of  alms  to  the  aged  and  the 
orphaned,  the  painters  of  these  compositions  contented 
themselves  with  arranging  their  patrons  round  a  table, 
making  no  attempt  to  characterize  them  by  any  sort  of 
accessory.  The  balancing  of  accounts  had  become  a  f^- 


142  THE  RIJKS  MUSEUM 

vourite  motive  in  such  groups.  The  administrators  would 
appear  seated  at  a  table,  covered  with  a  cloth,  busily  verify- 
ing their  accounts,  and  the  contents  of  their  cash-boxes, 
and  explaining  with  gestures  more  or  less  expressive,  that 
all  was  in  order,  and  that  they  had  faithfully  fulfilled 
their  trust.  In  the  background,  standing  apart  with  un- 
covered heads,  some  subordinates  awaited  their  pleasure, 
or  aided  them  in  their  task.  Such  was  the  trite  theme, 
which  was  adapted  to  each  of  the  societies  in  turn,  and  to 
which  all  the  painters  of  corporation  groups  conformed 
with  more  or  less  exactitude. 

"  Such  a  spirit  had  already  manifested  itself  in  the 
Regents  of  the  Asylum  for  the  Aged,  by  Cornelis  Van  de 
Vort,  and  in  the  pictures  of  Werner  Van  Valckert,  who 
painted  The  Four  Syndics  of  the  Mercers'  Guild  in  1622. 
In  the  hands  of  Thomas  de  Keyser  and  Nicholas  Elias  the 
genre  had  reached  its  full  development.  Proclaimed  their 
painter  in  ordinary  by  the  leading  citizens  of  Amsterdam, 
Elias  was  commissioned  in  1626  to  paint  the  Regents  of 
the  Guild  of  Wine  Merchants,  and  in  1628  produced  his 
fine  work,  The  Regents  of  the  Spinhuis.  Santvoort  in 
his  turn — though  his  talents  lay  chiefly  in  the  direction 
of  female  portraiture — displayed  his  powers  very  credit- 
ably in  his  Four  Regents  of  the  Serge  Hall  of  1643,  a 
serious  and  well-considered  work,  finely  modelled  and  very 
characteristically  treated.  But  to  Haarlem  belongs  the 
honour  of  having  produced  the  finest  corporation  picture 
executed  before  Rembrandt's  masterpiece — Hals's  Regents 
of  the  Hospital  of  St.  Elizabeth,  painted  in  1641.  Hals 
here  combines  with  the  magnificent  technique  usual  in  his 
works,  a  precision  and  dignity  to  which  he  had  never 
before  attained. 

"  At  this  period,  Dutch  art  had  reached  its  apogee,  and 
corporation  pictures  were  beginning  to  show  symptoms 
of  decline.  The  unquestionable  talent  of  Ferdinand  Bol, 
one  of  Rembrandt's  best  pupils,  had  not  preserved  him 
from  a  certain  mannerism  in  his  Regents  of  the  Asylum 
for  the  Aged,  dated  1657.  The  six  persons  are  seated  in 
the  usual  manner  round  a  table.  The  heads  are  some- 
what round  and  soft  in  the  modelling,  and  have  little  of 
the  strong  individuality  that  impresses  us  in  the  works  of 
Bol's  predecessors.  The  composition  is  lacking  in 
simplicity,  and  the  painter's  anxiety  to  give  variety  to  the 


AMSTERDAM  143 

attitudes  is  somewhat  distractingly  obvious.  Each  figure 
seems  to  claim  exclusive  attention,  and  this  neglect  of 
artistic  subordination  injures  the  unity  of  the  composition, 
though  it  was  indeed  one  of  the  main  causes  of  Bol's 
success,  for  each  model  was  flattered  by  the  importance 
of  his  own  figure  in  the  group. 

"  Such  were  the  important  productions  in  this  genre 
when  Rembrandt  was  commissioned  to  paint  his  group  of 
Syndics.  On  this  occasion  Rembrandt  made  no  attempt 
to  vary  traditional  treatment  by  picturesque  episode,  or 
novel  method  of  illumination,  as  in  the  case  of  the  Night 
Watch.  As  Dr.  Bredius '  remarks :  '  He  recognized,  no 
doubt,  that  such  experiments  were  far  from  grateful  to  his 
patrons,  or  it  may  be  that  they  themselves  made  certain 
stipulations  which  left  him  no  choice  in  the  matter.'  Be 
this  as  it  may,  Rembrandt  accepted  the  convention  of  his 
predecessors  in  all  its  simplicity.  The  five  dignitaries  of 
the  Corporation  are  ranged  round  the  inevitable  table, 
prosaically  occupied  in  the  verification  of  their  accounts. 
They  are  all  dressed  in  black  costumes,  with  flat  white 
collars  and  broad-brimmed  hats.  Behind  them,  and  some- 
what in  the  shadow,  as  befits  his  office,  a  servant  also  in 
black,  awaits  their  orders  with  uncovered  head.  The 
table  cloth  is  of  a  rich  scarlet;  a  wainscot  of  yellowish 
brown  wood,  with  simple  mouldings,  forms  the  back- 
ground for  the  heads.  No  accessories,  no  variation  in 
the  costumes ;  an  equally  diffused  light,  falling  from  the 
left  on  the  faces,  which  are  those  of  men  of  mature  years. 
Wath  such  modest  materials,  Rembrandt  produced  his 
masterpiece.  At  the  first  glance,  we  are  fascinated  by- 
the  extraordinary  reality  of  the  scene  by  the  commanding 
presence  and  intense  vitality  of  the  models.  An  exam- 
ination of  the  various  details  confirms  our  admiration. 
We  note  the  solid  structure  of  the  heads  and  figures,  the 
absolute  truth  of  the  values,  the  individual  and  expressive 
quality  of  each  head,  and  their  unity  one  with  another. 
Passing  from  the  drawing  to  the  colour,  our  enthusiasm  is 
raised  by  the  harmony  of  intense  velvety  blacks  and  warm 
whites  with  brilliant  carnations,  which  seem  to  have  been 
kneaded,  as  it  were,  with  sunshine;  by  the  shadows  which 
bring  the  forms  into  relief  by  an  unerring  perception  of 
their  surfaces  and  textures ;  and,  finally,  by  the  general 
harmony,  the  extraordinary  vivacity  of  which  can  only  be 


144  THE  RIJKS  MUSEUM 

appreciated  by  comparing  it  with  the  surrounding  can- 
vases. 

"  The  execution  is  no  less  amazing  in  its  sustained 
breadth  and  sobriety.  As  Fromentin  justly  observes: 
'  The  vivid  quality  of  the  light  is  so  illusory  that  it  is 
difficult  to  conceive  of  it  as  artificial.  So  perfect  is  the 
balance  of  parts,'  he  adds,  '  that  the  general  impression 
would  be  that  of  sobriety  and  reticence,  were  it  not  for 
the  undercurrent  of  nerves,  of  flame,  of  impatience,  we 
divine  beneath  the  outwardly  calm  maturity  of  the  master.' 

"  Never  before  had  he  achieved  such  perfection ;  never 
again  was  he  to  repeat  the  triumph  of  that  supreme  mo- 
ment when  all  his  natural  gifts  joined  forces  with  the  vast 
experiences  of  a  life  devoted  to  his  art,  in  such  a  crown- 
ing manifestation  of  his  genius.  Criticism,  which  still 
wrangles  over  the  Night  Watch,  is  unanimous  in  admira- 
tion of  the  Syndics.  In  it  the  colourist  and  the  draughts- 
man, the  simple  and  the  subtle,  the  realist  and  the  idealist, 
alike  recognise  one  of  the  masterpieces  of  painting." — 
(E.  M.) 

The  Night  Watch,  or  the  Sortie  of  the  Com- 
pany of  Captain  Banning  Cock,  shows  twenty- 
nine  guards  in  varied  costume  and  uniform  (life- 
size)  pouring  in  a  confused  throng  into  the  street 
from  their  guard-house  for  some  purpose  undeter- 
mined by  critics.  The  perspective  has  suffered  be- 
cause the  original  sketch  shows  that  the  canvas 
was  cut  down  later.  The  figures  are  all  portraits, 
the  names  of  which  are  inscribed  on  an  accompany- 
ing plate.  A  detailed  description  of  this  picture, 
which  is  as  familiar  to  the  picture  Fover  as  any 
ever  painted,  would  be  superfluous.  Its  chief  in- 
terest lies  in  its  introduction  of  the  cult  of  chiaro- 
scuro. 

"  To  envelop  and  immerse  everything  in  a  bath  of 
shadow;  to  plunge  light  itself  into  it  only  to  withdraw 
it  afterwards  to  make  it  appear  more  distant  and  radiant ; 
to  make  dark  waves  revolve  around  illuminated  centres, 


AMSTERDAM  145 

grading  them,  sounding  them,  thickening  them;  to  make 
the  obscurity  nevertheless  transparent,  the  half  gloom 
easy  to  pierce,  -and  finally  to  give  a  kind  of  permeability 
to  the  strongest  colours  that  prevents  their  becoming 
blackness, — this  is  the  prime  condition,  and  these  also  are 
the  difficulties  of  this  very  special  art.  It  goes  without 
saying,  that  if  anyone  ever  excelled  in  this,  it  was  Rem- 
brandt. He  did  not  invent,  he  perfected  everything;  and 
the  method  that  he  used  oftener  and  better  than  anyone 
else  bears  his  name. 

When  explained  according  to  this  tendency  of  the 
painter  to  express  a  subject  only  by  the  brilliance  and 
obscurity  of  objects,  the  Night  Watch  has,  so  to  speak, 
no  more  secrets  for  us.  Everything  that  might  have  made 
us  hesitate  is  made  clear.  Its  qualities  have  their  raison 
d'etre;  and  we  even  come  to  comprehend  its  errors.  The 
embarrassment  of  the  practitioner  as  he  executes,  of  the 
designer  as  he  constructs,  of  the  painter  as  he  colours,  of 
the  costumer  as  he  attires,  the  inconsistency  of  the  tone, 
the  amphibology  of  the  effect,  the  uncertainty  of  the  time 
of  day,  the  strangeness  of  the  figures,  their  flashing  ap- 
parition in  deep  shadow, — all  this  results  here  by  chance 
from  an  effect  conceived  contrary  to  probability,  and 
pursued  in  spite  of  all  logic,  not  at  all  necessary,  and 
with  the  following  purpose :  to  illuminate  a  real  scene 
with  unreal  light,  that  is  to  say,  to  clothe  a  fact  with  the 
ideal  character  of  a  vision.  Do  not  seek  for  anything 
beyond  this  audacious  project  that  mocked  the  painter's 
aims,  clashed  with  received  ideas,  set  up  a  system  in 
opposition  to  customs,  and  boldness  of  spirit  in  opposition 
to  manual  dexterity." — (E.  F.) 

The  Jewish  Bride  is  also  famed  as  one  of  the 
gems  of  the  gallery. 

"  This  capital  picture  exhibits  a  gentleman  and  a  lady ; 
the  former,  having  the  appearance  of  nearly  sixty  years 
of  age,  and  habited  in  a  yellow  dress  with  richly-embroid- 
ered sleeves,  is  bending  forward  to  embrace  the  lady,  who 
stands  in  nearly  a  front  view,  with  her  hands  on  her  waist. 
Her  attire  consists  of  a  crimson  silk  gown,  a  lace  frill 
and  ruffles,  and  muslin  scarf,  with  pearl  necklace  and 


146  THE  RIJKS  MUSEUM 

other  jewels.  A  pot  of  flowers  is  faintly  indicated  in 
the  background.  This  picture  is  painted  with  astonishing 
freedom  and  mastery  of  hand,  and  with  a  prodigality  of 
colour  and  brilliancy  of  hues  rarely  exceeded  by  the 
master.  In  its  execution  may  be  discovered  the  application 
of  the  colour  with  the  palette  knife,  the  thumb,  the  dry 
stick,  and  the  broad  spreading  brush.  He  has  seldom 
produced  anything  finer  in  portraiture  than  the  character 
and  expression  of  the  gentleman ;  but  the  lady  has  not 
been  attended  with  the  like  success." — (J.  S.) 

After  the  Night  Watch,  Van  der  Heist's  Ban- 
quet is  the  most  important  picture.  The  Civic 
Guard  is  represented  as  feasting  on  June  18,  1648, 
in  the  hall  of  St.  George's  Company  House  in 
celebration  of  the  Peace  of  Miinster.  The  food, 
dishes  and  glasses  are  painted  with  as  much  skill 
and  truth  to  life  as  the  twenty-five  life-size  por- 
traits. Captain  Wits,  who  sits  at  the  head  of  the 
table,  is  holding  on  his  knee  the  superb  silver 
drinking-horn  of  the  Company,  the  original  of 
which  is  kept  in  a  glass-case  in  this  Museum. 

"  This  is  perhaps  the  first  picture  of  portraits  in  the 
world,  comprehending  more  of  those  qualities  which  make 
a  perfect  portrait  than  any  other  I  have  ever  seen :  they 
are  correctly  drawn,  both  head  and  figures,  and  well- 
coloured  ;  and  have  great  variety  of  action,  characters, 
and  countenances,  and  those  so  lively  and  truly  expressing 
what  they  are  about,  that  the  spectator  has  nothing  to 
wish  for.  Of  this  picture  I  had  before  heard  great  com- 
mendations; but  it  far  exceeded  my  expectations." — (J.  R.) 

Some  critics  prefer  the  companion  picture,  Cap- 
tain Roelf  Bicker's  Company,  in  which  the  offi- 
cers are  welcoming  a  new  ensign  in  front  of  the 
Cock  Inn.  There  are  thirty-two  figures  here,  all 
remarkable  for  their  action  and  vitality.  The 
costumes  of  the  men  are  very  brilliant. 


AMSTERDAM  147 

Govaert  Finck's  Arquebusiers  of  Amsterdam 
at  a  Banquet  celebrating  the  Signing  of  the 
Peace  of  Minister  (1648)  is  his  greatest  work. 
The  same  characters  appear  as  in  Van  der  Heist's 
work.  The  tall  man  in  black  and  in  profile  is  sup- 
posed to  be  the  painter.  His  equally  important 
work  portrays  Captain  Albert  Bas's  Company 
of  Arquebusiers. 

This  gallery  is  particularly  rich  in  pictures  of 
birds,  fruits,  flowers  and  still-life.  Of  the  ten 
Hondecoeters,  the  most  celebrated  is  the  Float- 
ing Feather. 

"  This  feather  of  a  duck  floats  on  the  surface  of  a  pool 
that  mirrors  ducks,  a  pelican,  a  flamingo,  and  other  aquatic 
birds  grouped  on  the  bank.  Do  not  breathe  on  the  feather; 
it  would  fly  away !  The  background  is  a  park  landscape. 
The  canvas  is  six  feet  high  by  four  to  five  broad:  signed 
in  full.  This  is  not,  however,  in  my  opinion,  the  best 
Hondecoeter  here.  The  Landscape  with  a  Peacock  and 
Hen  and  Exotic  Birds  is  superior  in  breadth  of  execution 
and  general  harmony.  The  two  peafowl  are  on  the  right. 
On  the  left  is  a  white  hen  surrounded  by  her  chicks.  In 
the  centre,  one  of  those  bold  cockerels,  with  dead-leaf 
plumage  and  red  crest,  and  which  will  develop  into  a  fine 
cock,  gallantly  faces  the  peacock  beak  to  beak.  It  is  a 
vigorous  painting." — (W.  B.) 

Weenix,  whom  Sir  Joshua  Reynolds  so  enthu- 
siastically praised  for  his  beautiful  colouring  and 
general  excellence,  has  a  beautiful  Dead  Game 
with  the  Castle  of  Honselaersdyk  in  the  back- 
ground. His  two  pictures  of  Dead  Hares  also 
deserve  attention. 

Aelbert  Cuyp's  Fight  between  a  Turkey  and 
a  Cock  is  remarkable  for  its  fury  of  action,  truth- 
ful colouring  and  fine  chiaroscuro. 


i48  THE  RIJKS  MUSEUM 

Van  Beyeren's  Fish  look  as  if  they  had  just 
come  out  of  the  water;  and  Pieter  Claesz's  Break- 
fast is  another  fine  example  of  still-life.  Snyders's 
Dead  Game  and  Vegetables  and  Fruit  and  Game 
show  the  painter's  skill  in  depicting  to  the  life 
deer,  boars'  heads,  lobsters,  artichokes,  aspara- 
gus, fruits,  porcelain  bowls  and  crystal  vases 
with  flowers ;  and  among  many  floral  pieces  Van 
Huysam's  Flowers  (1723),  in  which  roses,  hya- 
cinths, anemones,  appear  in  a  vase  on  a  marble 
table  beside  a  nest  of  four  eggs,  should  be  no- 
ticed for  its  elegance  and  delicacy  of  treatment. 

Dow's  Evening  School  is  a  work  of  the  first  im- 
portance. The  schoolmaster  is  seated  at  his  desk 
on  which  is  a  lighted  candle  and  an  hour-glass. 
He  shakes  his  finger  threateningly  at  a  little  boy 
who  is  walking  toward  a  group  of  scholars  seated 
around  a  table  dimly  lighted  by  a  candle.  A 
scarcely  visible  figure  is  descending  a  winding 
staircase.  Half  the  background  is  hidden  by  a  big 
brownish  drapery  doubtless  used  so  as  to  con- 
centrate the  light  and  dark  effects  under  this  kind 
of  theatre  curtain.  In  front  of  the  master  a  little 
girl  in  profile  and  leaning  against  the  table  is  spell- 
ing out  words,  following  them  with  her  fingers.  To 
the  left  is  another  group  consisting  of  a  boy  with 
his  back  to  us  ciphering  on  a  slate  by  the  light 
of  a  candle  held  by  a  little  girl  who  stands  and 
points  out  the  figures  with  her  left  hand.  Finally, 
a  fourth  candle  burns  in  a  lantern  on  the  ground  at 
the  foot  of  the  table  near  the  centre  of  the  room. 
The  various  groups  are  beautifully  distributed, 
and  the  flickering  candle  light  is  most  skilfully 
depicted. 

"  All  this  is  painted  on  a  little  panel  twenty  inches  high 


THE  FLOATING  FEATHER— M.  d'Hondccoeter 

RIJKS    MUSEUM 


THE  SPIXXER— Macs 

KIJKS    MLSKl.'M 


AMSTERDAM  149 

and  fifteen  inches  wide.  Doubtless,  what  people  admire 
so  highly  in  this  is  the  struggle  of  the  candlelight — a 
stroke  of  cleverness,  very  true  and  very  skillful." — (W.  B.) 

Gerard  Dow's  portrait  of  himself  leaning  out  of 
a  window  is  a  splendid  character  study.  His 
Hermit  is  a  marvel  of  minute  painting. 

"  One  can  count  the  hairs  and  wrinkles  of  the  little 
man  on  the  six-inch-square  panel.  The  clasped  hands 
hold  a  crucifix.  There  is  also  an  open  book,  and  a 
chaplet,  an  hour-glass,  a  basket — bread  and  wine  for 
meditation  at  leisure — and  other  minute  accessories.  On 
the  right  is  a  tree  trunk,  and  in  the  background,  arcades 
— the  cloister,  doubtless.  It  is  as  tiny  and  precious  as  it 
could  possibly  be." — (W.  B.) 

Reading,  by  Ver  Meer  of  Delft,  is  a  charming 
interior. 

"  Again  the  Sphinx !  An  interior  with  a  woman  in  a 
blue  robe.  The  woman  is  standing,  in  profile  to  the  left, 
knee-length.  She  is  reading  a  letter.  She  wears  a  blue 
jacket  and  a  pale  grey  skirt.  In  front  of  her  is  a  table, 
also  a  chair  with  a  blue  back.  Behind  her  is  another  blue 
chair.  Her  bust  stands  out  against  a  geographical  chart 
hanging  on  the  pale  wall.  The  execution  is  very  delicate : 
the  colour  weak,  and  even  somewhat  dry.  The  face  is 
exquisitely  fine ;  the  bare  arms  and  the  hand  that  holds 
the  paper  are  wonderfully  drawn." — (W.  B.) 

The  Laitiere  belongs  to  Ver  Meer's  second 
period. 

"  The  Laitiere  is  the  last  word  of  simplicity.  A  cook 
pours  milk  from  one  vessel  into  another  in  a  room  which 
may  be  a  larder.  Nothing  could  be  more  actual.  Not  a 
touch  upon  the  panel  but  is  governed  by  loyalty  to  truth, 
but  neither  is  there  a  touch  which  fails  to  contribute  to 
that  unity  which  is  art." — (Sir  W.  A.) 

Of  Jan  Steen's  pictures,  the  Parrot  Cage  is 
generally  considered  the  finest. 


150  THE  RIJKS  MUSEUM 

"  On  the  right  are  two  men  playing  backgammon, 
one  sitting  and  the  other  standing;  the  third  looks  on  as 
he  smokes.  On  the  left  is  a  woman  in  front  of  a  wide 
chimney,  and  a  boy  feeding  a  cat.  In  the  middle  fore- 
ground a  young  woman  with  her  back  to  the  spectator 
has  her  arm  raised  to  feed  a  parrot  in  a  cage  hanging 
from  the  ceiling.  The  principal  motive  of  the  picture  is 
the  young  woman,  who  is  delightfully  proportioned.  Cor- 
rect drawing,  very  strong  modelling;  the  light  of  marvel- 
lous gradations  throughout;  the  local  tone  vigorous  as 
in  the  Venetians."— (W.  B.) 

St.  Nicholas  Eve  is  a  typical  Dutch  scene  in 
which  father,  mother  and  grandmother  are  inter- 
ested in  the  rewards  St.  Nicholas  has  bestowed 
upon  the  children  according  to  their  deserts.  The 
light  is  centred  upon  a  little  girl  whose  arms  are 
full  of  toys  and  her  mother  who  is  sitting  beside  a 
table  loaded  with  St.  Nicholas  cakes  and  confec- 
tionery. Some  of  the  children  are  looking  up  the 
chimney  to  see  where  St.  Nicholas  descended  and 
one  child  is  crying  because  his  shoe  contains  a 
birch  rod.  This  is  supposed  to  be  a  picture  of  the 
painter  and  his  family. 

Of  equal  merit  is  the  Dancing  Lesson,  a  charm- 
ing representation  of  two  children  playing  with  a 
cat. 

The  Quack,  standing  on  a  platform  under  a 
tree  vaunting  the  virtues  of  his  nostrums,  is  in 
Steen's  best  vein.  Below  him  are  many  little  fig- 
ures very  humorously  treated,  and  comic  epi- 
sodes. One  woman  has  brought  her  drunken 
husband  to  be  cured  by  the  eloquent  doctor;  a 
peasant  is  being  operated  on  by  the  charlatan's 
assistant,  etc. 

The  Scullion  is  a  highly  finished  picture  of  a 


AMSTERDAM  151 

kitchen  interior,  with  a  young  woman,  in  white 
jacket  and  blue  skirt,  scouring  a  pewter  pot  on  the 
top  of  a  tub.  Beside  her  on  a  table  are  a  brass 
lantern,  a  pewter  jug  and  other  utensils. 

As  the  Old  Ones  Sing  so  the  Young  Ones  Pipe 
is  a  famous  scene  of  family  merry-making  in 
which  the  participants  are  eating,  drinking,  smok- 
ing, playing  and  singing. 

"  It  is  of  the  most  valiant  quality  in  his  broad  and  free 
manner." — (W.  B.) 

The  Orgy,  or  Toast,  tells  a  story  in  the  vein 
which  Hogarth  afterwards  worked  with  such  suc- 
cess. 

"  A  jovial  old  fellow  of  a  most  humorous  expression, 
seated,  with  a  tankard  in  one  hand,  and  a  goblet  of  liquor 
in  the  other,  is  in  the  act  of  raising  his  glass,  and  appar- 
ently giving  the  health  of  his  fair  companion,  who  is 
recumbent  on  a  form  by  his  side,  reclining  her  head  on 
his  knee,  her  eyes  half-closed,  a  pipe  falling  from  her 
relaxed  fingers,  and  one  leg  extended  on  the  form,  evi- 
dently overcome  with  her  copious  libations.  Music  has 
lost  its  charms,  and  the  two  musicians  are  seen  retiring 
from  the  room,  while  a  woman,  seizing  the  opportunity, 
has  mounted  a  chair,  and  is  in  the  act  of  stealing  a  mantle 
hanging  on  a  peg.  A  cat  and  an  owl  complete  the  com- 
position of  this  masterly  production." — (J.  S.) 

Another  masterpiece  is  The  Sick  Girl. 

"  Of  the  Faculty  of  Physicians  created  by  Jan  Steen, 
this  doctor  is  the  most  admirable  of  all.  Grey-bearded, 
he  stands  in  profile :  except  for  a  little  violet  cloak,  his 
costume,  including  cap,  is  all  black.  He  is  solemn  in 
attitude  and  pensive  in  countenance.  This  little  picture 
belongs  to  '  grand  painting '  by  its  breadth,  its  execution 
at  once  so  ample  and  restrained,  its  learned  drawing,  its 
just  imitation,  and  its  depth  of  colour,  so  that  it  recalls 
the  life-size  figures  of  the  Venetian  Masters.  Jan  Steen, 
who  is  not  always  so  distinguished,  here  touches  the  real 


152  THE    RIJKS    MUSEUM 

style.     No  master  is  more  variable  or  complex  than  he." 
— (W.  B.) 

The  Birthday  of  the  Prince  of  Orange  is  an 
animated  scene,  in  which  the  Court  is  drink- 
ing his  health  and  offering  congratulations.  It  is 
painted  in  the  artist's  best  manner. 

The  Satin  Dress  was  painted  three  times  by 
Ter  Borch.  The  inappropriate  name  of  Pater- 
nal Advice  was  bestowed  upon  it  by  Goethe ;  but 
the  foppishly  dressed  young  man  is  too  young  to  be 
the  father  of  the  young  lady  who  stands  with  her 
back  to  the  spectator,  showing  the  lustrous  folds 
of  her  rich  gown  to  such  advantage. 

"  What  a  singular  thing !  A  frightful  sacrifice  of  a 
woman's  head  to  a  robe  of  satin,  the  unheard-of  triumph 
of  an  accessory — a  charming  infraction  against  all  the 
principles  of  art — we  might  call  it  a  colossal  fault — but 
a  privilege  only  allowed  to  great  artists.  The  painter  has 
by  this  aroused  our  curiosity  regarding  the  face  of  the 
young  girl,  who  has  turned  away  her  head,  and  so  we 
have  to  imagine  her  blushing  cheeks  and  her  lowered 
eyelids."— (C.  B.) 

Nicholas  Maes  has  two  pictures  of  the  Spinner. 
The  one  in  the  Dupper  room  is  a  solemn,  quiet  and 
charming  presentation  of  a  solitary  old  woman  at 
her  wheel.  The  fading  daylight  sifting  through 
the  window  falls  upon  the  rich  red  of  her  costume 
and  the  dull  hues  of  the  table  cloth. 

The  Spinner  in  the  Van  der  Hoop  room  is 
sitting  at  her  wheel ;  she  wears  a  black  head- 
dress and  beautiful  red  sleeves.  She  stands  out 
strongly  against  a  brightly-lighted  wall :  both 
figure  and  lights  are  heavily  impasted.  Smith 
calls  it  a  brilliant  and  very  masterly  production. 

"  If   this    Maes    could    be   transported    to    the   Louvre, 


AMSTERDAM  153 

what  enthusiasm  it  would  excite  among  the  artists !  That 
strong,  simple,  and  profound  talent,  that  accentuation  of 
the  drawing  and  framework  of  the  personages  with  an 
incomparable  colour,  that  bold  and  true  touch,  the  skill 
of  the  brush  in  the  accessories,  the  transparence  of  the 
depths  and  brilliance  of  the  lights,  and  the  striking  effect 
of  the  whole,  would  immediately  place  Maes  by  the  side 
of  Rembrandt."— (W.  B.) 

The  Dreamer  (or  Musing),  by  Maes,  represents 
a  young  woman  looking  out  of  her  casement  win- 
dow framed  with  peaches  and  apricots.  The  gen- 
eral tone  is  a  beautiful  red.  The  head  is  full  of 
life  and  expression  and  the  left  hand  admirable. 

Among  the  Little  Masters,  Caspar  Netscher  must 
not  be  overlooked.  His  Maternal  Care  is  cer- 
tainly a  gem  of  the  first  water  in  this  genre. 

"  A  lady,  of  a  fair  complexion,  and  light  hair,  elegantly 
attired  in  a  dark  blue  satin  jacket  bordered  with  ermine, 
and  a  peach-colour  satin  skirt,  seated,  combing  a  boy's 
hair;  he  is  kneeling  at  her  side.  A  second  child  stands 
near  a  table  which  is  covered  with  a  Turkey  carpet, 
making  wry  faces  in  a  looking-glass :  a  silver  box,  a  cup, 
and  a  plate  are  on  the  table.  A  maid  with  a  silver  ewer 
and  salver,  is  advancing  from  a  door  at  the  side ;  a  stool 
covered  with  red  velvet,  on  which  lies  a  cap  and  feathers, 
is  in  front,  and  a  cat  is  behind  the  lady's  chair.  This  is 
an  exquisitely  painted  picture. —  (J.  S.) 

The  Sportsman's  Present  is  a  picture  of  ad- 
mirable quality ;  Burger  begs  us  to  think  of  the 
charming  harmony  that  Metsu  found  in  those 
tender  rose  tints,  flat  whites  and  emerald  greens. 

"  A  lady,  dressed  in  a  scarlet  jacket,  bordered  with 
ermine,  seated,  having  a  lace  cushion  on  her  lap,  and  her 
right  arm  upon  a  table  covered  with  a  Turkish  carpet,  upon 
which  stands  a  little  spaniel ;  her  attention  at  the  same 
time  is  directed  towards  a  sportsman,  who  sits  on  her 
left,  in  the  act  of  presenting  her  a  brace  of  partridges; 


154  THE    RIJKS    MUSEUM 

he  is  accompanied  by  a  fine  setter  dog.  A  gun,  a  pouch, 
and  a  dead  duck  lie  on  the  floor  in  front;  and  upon  the 
top  of  the  cabinet,  which  stands  behind  the  lady,  is  a 
figure  of  Cupid. —  (J.  S.) 

The  Breakfast  is  a  tiny  canvas  only  one  foot 
square.  Seated  at  the  table  are  a  woman  pouring 
out  wine  from  an  earthenware  pitcher  into  a  tall 
glass  and  a  man,  helping  himself  to  a  plate  of  meat. 
The  colour  scheme  is  exquisite,  and  the  rendering 
of  the  accessories  exceedingly  minute. 

The  Old  Toper  is  as  good  as  anything  Metsu 
ever  painted.  The  jolly  old  man,  dressed  in  a 
dark  drab  coat  and  fur  cap,  sitting  and. leaning  his 
right  arm  upon  a  cask,  with  a  pipe  in  one  hand 
and  a  jug  in  the  other, 

"  is  painted  with  elaborate  care,  and  possesses  extraor- 
dinary truth  of  expression,  and  identity  of  character." 
-(J.  S.) 

Metsu's  Woman  with  a  Cat  and  Old  Woman 
Reading  are  also  two  brilliant  works  of  true  feel- 
ing. 

The  Country  House  is  one  of  the  compara- 
tively few  exteriors  painted  by  De  Hoogh,  who 
generally  prefers  treating  the  varying  lights  of 
communicating  apartments. 

"The  subject  represents  a  young  lady  and  a  gentleman, 
sitting  at  a  table,  in  the  open  court  of  a  Dutch  residence. 
The  former,  dressed  in  a  red  jacket  and  a  yellow  skirt, 
is  in  the  act  of  squeezing  the  juice  of  a  lemon  into  a  glass 
of  liquor,  while  the  gentleman,  who  has  withdrawn  his 
pipe  from  his  lips,  is  leaning  forward,  and  apparently 
saying  something  gallant  to  his  fair  companion.  The 
mistress  of  the  house  stands  on  the  farther  side  of  the 
table,  and  a  servant-maid  is  scouring  a  pot,  on  a  cask, 
at  the  corner  of  the  house.  A  doorway,  at  the  end  of 
the  court,  leads  into  an  adjacent  field.  The  brilliant 


AMSTERDAM  155 

sunshine   of   a  fine   afternoon  lends   a  peculiar  charm  to 
the  scene.     This  is  an  admirable  production. — (J.  S.) 

The  Store  Room  is  remarkable  for  its  simplic- 
ity of  subjects,  warm  tones  and  chiaroscuro.  At 
an  open  door,  which  leads  down  into  a  cellar,  a 
woman  is  giving  a  child  a  drink  of  beer.  The 
front  room  leads  into  the  back  one,  which  has  an 
open  window,  thus  producing  three  light  effects 
that  are  marvellously  treated  in  the  artist's  char- 
acteristic manner. 

Two  Musicians  is  attributed  to  this  artist ;  also 
to  Isaac  Koedyck. 

"  It  is  a  fine  and  large  painting,  simple  and  harmonious, 
in  the  style  of  Pieter  de  Hoogh.  The  woman  playing 
the  clavecin  wears  a  red  velvet  jacket  edged  with  ermine 
and  red  skirt.  She  is  sitting  in  a  wooden  chair  over  the 
back  of  which  is  thrown  a  violet  drapery.  On  her  right, 
in  front  of  the  instrument,  a  man  stands  with  his  back 
to  us,  accompanying  her  on  a  guitar,  the  neck  of  which 
only  is  visible.  He  wears  a  big  black  robe  with  brown 
reflections,  an  avalanche  of  red  wig,  and  his  hat  is  on 
the  grey  tiling  at  his  feet.  To  the  left,  a  window  opens 
on  a  town  interior;  at  the  back  is  a  sort  of  library  veiled 
by  a  green  curtain.  On  the  wall  is  a  glass  in  which  the 
man's  bust  is  reflected." — (W.  B.) 

Hendrik  Martensz  Zorg  is  credited  with  five 
fine  pictures,  but  La  Poissarde  has  a  false  signa- 
ture, and  was  painted  by  Brekelenkam. 

"  His  Fish  Market,  with  twenty-eight  figures,  is  a  paint- 
ing of  great  solidity  and  simplicity,  though  somewhat  cold 
for  this  warm  colorist." — (W.  B.) 

His  Lute  Player  shows  his  affinities  with 
Adriaen  Van  Ostade;  and  this  and  other  works 
here  display  his  profound  feeling  for  nature,  taste 
in  composition,  correct  design,  careful  execution, 
and  warmth  and  harmony  of  colour. 


156  THE    RIJKS    MUSEUM 

Jan  Miense  Molenaer,  who  appears  so  rarely  in 
the  big  public  galleries,  has  two  little  gems  here: 
a  Grace  before  Meat,  and  a  Lady  at  the  Clavecin. 
Both  will  reward  more  than  a  passing  glance. 

There  are  seven  pictures  by  David  Teniers  the 
Younger,  the  best  of  which  is  generally  considered 
to  be  the  Dice  Players,  which  is  broadly  painted. 
The  Farm,  or  Rest,  is  also  a  fine  piece  of  work, 
with  its  two  figures  in  conversation,  and  carefully 
studied  utensils  and  vegetables. 

"  On  the  right,  a  ray  of  sunlight  falls  on  a  greenish 
grey  landscape,  lightly  painted  in  the  style  of  what  are 
called  Teniers's  breakfasts." — (W.  B.) 

Brekelenkam,  who  belongs  to  the  school  of 
Metsu,  A.  Van  Ostade  and  N.  Maes,  is  repre- 
sented here  by  one  of  his  very  best  works,  the 
Tailor's  Shop.  It  is  signed  Q.  B.,  and  dated  1661. 

"  Painting  very  strong,  very  sober,  very  learned,  very 
true  in  action  and  effect.  Analogy  with  Pieter  de  Hoogh, 
but  a  little  drier."— (W.  B.) 

Adriaen  Brouwer  is  worthily  represented  here. 

''  Side  by  side  with  Brouwer's  masterpieces  in  Munich 
must  be  set  the  Peasants'  Orgy,  and  the  Peasants'  Brawl, 
\vhich  Dr.  Bredius  considers  the  type  of  the  master's 
first  manner.  These  pictures,  sometimes  verging  on  cari- 
cature and  lacking  in  what  austere  people  call  style,  yet 
belong  to  eternal  art,  and  abound  in  qualities  of  the  first 
order.  By  his  implacable  sincerity  of  observation,  his 
profound  sentiment  of  mimicry,  the  mocking  or  moving 
truth  of  gesture  and  attitude,  Adriaen  Brouwer  is  one 
of  the  greatest  painters  of  human  comedy." — (P.  M.) 

A  pupil  of  Codde,  William  Duyster,  has  two 
notable  pictures :  Backgammon  Players  and  the 
Marriage  of  the  Lord  of  Oudegein  and  the 
Widow  Broekhuyzen. 


THE  COUNTRY  HOUSE— P.  de  Hooch 

RIJKS   MUSEUM 


'         "5 

r^  ^ 


AMSTERDAM  157 

Palamedes  painted  the  Concert  or  Musical 
Party  with  several  variations.  Havard  cata- 
logues more  than  twenty  in  private  collections, 
and  the  public  galleries  of  Berlin,  St.  Peters- 
burg, The  Hague,  Rotterdam,  Nantes,  Antwerp 
and  Brussels.  The  example  here,  as  in  Jordaens's 
domestic  revelry,  shows 

"  an  interior  with  figures,  seated  and  standing.  Same 
faces,  poses,  accessories, — same  valet  pouring  out  wine. 
A  jolly  painter  after  all!  "—  (J.  G.  H.) 

The  Return  from  the  Hunt  is  the  masterpiece 
of  A.  C.  Beeldemaker,  who  so  rarely  occurs  in  the 
galleries.  Hunting  and  hawking-parties  in  the 
style  of  Wouvermans  and  Cuyp  are  this  painter's 
specialty.  The  work  is  full  of  seignorial  life  in  a 
beautiful  landscape  setting. 

Of  the  dozen  pictures  here  by  Philip  Wouver- 
mans, the  Landscape,  in  which  ladies  and  gentle- 
men are  enjoying  a  stag-hunt,  is,  perhaps,  the 
best. 

The  Halt  is  one  of  the  best  works  of  Salomon 
Ruysdael, — a  sort  of  resume  of  his  talents. 

"  One  might  say  that  in  it  he  wanted  to  accumulate 
the  proofs  of  his  ability,  so  rich  is  the  composition  in 
all  kinds  of  details.  That  stream  in  which  those  so 
happily-posed  cows  are  drinking,  those  two  coaches,  those 
mounted  ladies  and  gentlemen  halting  at  the  door  of  an 
inn,  with  the  host  and  hostess  busy  among  them;  close 
by,  a  woman  washing,  another  carrying  a  child,  a  shep- 
herd and  his  dog,  turkeys  and  fowls ;  above,  oaks  with 
thick  foliage,  and,  on  the  horizon,  a  sea  of  verdure  domi- 
nated by  two  spires  of  a  church, — all  that  is  painted  with 
masterly  sureness,  and  forms  an  ensemble  the  olive 
harmony  of  which  is  full  of  distinction.  In  spite  of  these 
numerous  details  that  animate  it,  the  picture  has  a  great 
simplicity  of  aspect,  and  the  strength  of  its  colour  is 
altogether  marvellous." — (E.  M.) 


158  THE    RIJKS    MUSEUM 

The  Windmill  at  Wyk  is  an  exception  in  the 
work  of  Jacob  Ruysdael,  who  rarely  sought  other 
than  scenes  of  grandeur  and  melancholy.  In  this 
case,  he  followed  the  example  of  his  uncle,  Salo- 
'mon,  and  his  predecessor,  Van  Goyen,  in  paint- 
ing the  course  of  a  broad  river. 

"  In  a  word,  the  subject  is  this:  a  corner  of  the  Meuse 
probably;  on  the  right,  ground  terraced  with  trees  and 
houses,  and,  on  the  top,  the  black  mill  with  its  sails  high 
in  the  breezes,  a  line  of  piles  against  which  the  water  of 
the  river  softly  laps,  water  dark,  thick  and  admirable;  a 
little  strip  of  distant  horizon,  very  strong,  very  pale,  very 
distinct,  against  which  rises  the  white  sail  of  a  boat,  a 
flat  sail  without  any  wind  in  it,  of  a  sweet  and  altogether 
exquisite  value.  Above  this,  a  broad  sky  filled  with  clouds 
pierced  with  holes  of  pale  blue,  gray  clouds  mounting 
directly  in  escalade  to  the  top  of  the  canvas ;  no  light,  so 
to  speak,  anywhere  in  the  powerful  tonality,  composed 
of  dull  browns  and  sombre  slate  colours ;  one  single 
gleam  in  the  centre  of  the  picture,  a  ray  that  from  some- 
where comes  like  a  smile  to  illumine  the  disk  of  a  cloud. 
A  great  square  picture,  engraved  (we  need  not  fear  to 
abuse  the  word  with  Ruysdael)  with  extreme  sonority 
in  the  lowest  register,  and  my  notes  register  marvellous 
in  the  gold.  Beyond  the  preciousness  of  its  details,  its 
beauty  of  form,  grandeur  of  expression,  and  intimacy  of 
sentiment  it  must  be  regarded  as  simple  decoration." 
-(E.  F.) 

Haarlem  Seen  from  the  Dunes  of  Overveen 
is  full  of  light  and  transparence;  it  is  one  of  the 
best  examples  of  this  motive  so  often  treated. 

The  Woodland,  signed  and  dated  1653,  is  some- 
what cold  and  bluish  in  tone:  on  the  left  an  oak 
is  very  finely  studied. 

Another  Woodland  (signed)  is  one  of  the 
painter's*  larger  masterpieces.  It  shows  the  edge 
of  a  forest,  with  a  cascade  in  the  foreground.  It 
belongs  to  Ruysdael's  maturity:  the  execution  is 
very  broad,  and  the  harmony  striking. 


AMSTERDAM  159 

Another  wooded  Landscape,  signed  and  dated 
1661,  is  dark  and  strong;  but  rather  heavy  in  touch. 

A  Winter  Effect  is  of  wonderful  execution, 
and  striking  sadness. 

Isaac  Van  Ostade  has  two  variants  of  a  Road- 
side Inn. 

"  These  inns,  with  halts  of  travellers,  form  a  compact 
series  from  1646  to  1649.  In  this,  the  last  form  of  his  art, 
Isaac  has  very  distinct  peculiarities.  The  air  which  per- 
vades his  composition  is  warm  and  sunny,  yet  mellow  and 
hazy,  as  if  the  sky  were  veiled  with  a  vapour  coloured 
with  moor  smoke.  All  blemishes  are  forgotten  when  one 
looks  at  the  broad  contrasts  of  light  and  shade,  and  the 
masterly  figures  of  steeds  and  riders,  and  travellers  and 
rustics,  or  quarrelling  children,  and  dogs,  poultry  and 
cattle,  amongst  which  a  favourite  place  is  always  given 
to  the  white  horse,  which  seems  as  invariable  an  ac- 
companiment as  the  gray  in  the  skirmishes  and  fairs  of 
Wouvermans." —  (  C. ) 

Esaias  Van  de  Velde's  characteristic  Winter 
Amusements  produces  a  striking  impression  and 
lively  effect. 

"  Under  the  somewhat  harsh  light  of  a  gray-blue  sky, 
sad  and  lowering,  the  silhouettes  of  the  people  clothed 
in  sombre  garb  are  strongly  outlined.  The  groups  are 
well  disposed  and  the  attitudes  are  very  natural.  In  the 
foreground,  in  the  middle  of  a  group  of  ladies  of  slender 
forms,  a  gallant  kneels  to  adjust  the  skates  of  his 
charmer,  who,  with  a  graceful  movement,  half  turns  and 
coquettishly  reveals  her  amiable  and  smiling  face  to  the 
spectator.  Figures  and  landscape  here  are  of  equal  value, 
and  testify  to  the  suppleness  of  the  talent  of  Esaias." 
~(E.  F.) 

Adriaen  Van  de  Velde  has  several  of  his  most 
charming  works  here. 

In  the  beautiful  picture  dated  1667,  he  has 
painted  himself  with  his  wife  in  a  Landscape,  both 


160  THE    RIJKS    MUSEUM 

dressed  with  elegant  simplicity.  On  the  left,  a 
servant  seated  on  the  trunk  of  a  fallen  tree  holds 
their  youngest  child  in  her  arms,  and  the  little 
Pieter,  about  nine  years  of  age,  leads  a  spaniel 
that  drags  him  to  a  pool  to  drink.  Not  far  off, 
in  the  middle  distance,  a  groom  in  grey  is  adjust- 
ing the  harness  of  two  fine  grey  horses  that  have 
drawn  the  carriage  to  the  pretty  spot. 

"  In  this  beautiful  autumn  afternoon,  amidst  this  land- 
scape broken  with  groves  and  meadows  through  which  a 
stream  winds,  this  pleasant  household  loves  to  enjoy  the 
pure  air  with  the  children.  We,  in  turn,  enjoy  resting 
our  eyes  on  this  exquisite  .image  of  so  legitimate  a  hap- 
piness."— (E.  M.) 

The  Hunt  is  one  of  his  most  charming  com- 
positions. Horses,  hounds,  grooms,  and  elegant 
ladies  and  gentlemen  are  about  to  start  in  a  beau- 
tiful park  landscape. 

"  This  picture  is  of  an  extraordinary  richness  of  com- 
position, fineness  of  colour  (in  spite  of  so  much  red), 
state  of  preservation  and  purity." — (W.  B.) 

In  1667,  Adriaen  Van  de  Velde  and  Jan  Hack- 
aert  came  to  an  agreement  before  a  notary  by 
which  the  former  was  to  "  stuff "  some  of  his 
friend's  landscapes,  "  having  no  doubt  that,  later, 
the  pictures  in  which  he  had  collaborated  would 
be  worth  five  times  more  than  the  others."  This 
was  to  settle  for  a  volume  of  engravings  sold  to 
him  by  Hackaert.  The  Avenue  of  Ash  Trees 
(see  page  166)  is  undoubtedly  one  of  the  land- 
scapes "  stuffed "  with  figures  by  Adriaen  in 
conformity  with  his  undertaking.  Several  other 
masters  were  similarly  aided  by  Van  de  Velde. 

"  Adriaen  and  Van  der  Heyden  collaborated  in  more 


AMSTERDAM  161 

than  one  hundred  pictures,  and  never  was  an  association 
happier  than  that  of  these  two  artists.  We  know  the 
absolute  correctness  of  Van  der  Heyden,  his  execution 
of  extreme  finish,  but  sometimes  cold  and  dry  in  its  pre- 
cision. His  Town  Interiors  assuredly  would  lose  much 
of  their  value  without  Adriaen's  delightful  figures.  It 
was  Van  de  Velde  who  gave  life  to  the  quays,  streets 
and  squares  of  Amsterdam  that  his  friend  painted,  by 
animating  them  with  his  numerous  personages :  peasants, 
loungers,  idlers,  women  going  to  market,  urchins  playing, 
lords  greeting  one  another  hat  in  hand,  or  chatting  over 
the  news  of  the  day.  Through  this  throng,  carriages  and 
wagons  thread  their  way,  and  dogs  chase  or  fraternize 
with  each  other.  The  hurly-burly  of  the  crowd,  the  cos- 
tumes and  attitudes  of  the  little  elegant  figures  initiate 
us  into  the  movement  and  habits  of  the  great  city.  With 
remarkable  tact,  Adriaen  always  subordinates  his  execu- 
tion to  that  of  his  fellow  painter,  and  in  certain  tiny 
landscapes  painted  by  the  latter,  especially  in  the  two 
Quays  (in  this  gallery)  he  succeeds,  without  sacrificing 
his  own  breadth  of  execution,  in  rivalling  him  in  finish 
and  perfection." — (E.  M.) 

The  Water  Mill,  standing  out  from  a  back- 
ground of  tall  trees,  is  in  Hobbema's  happiest 
vein. 

"  The  composition  offers  on  the  right  a  large  overshot 
water-mill,  and  an  adjoining  red-tiled  house,  backed  with 
clusters  of  trees.  A  stream  flows  along  the  front,  beyond 
which  is  some  level  ground,  where  a  man  and  a  boy  are 
seen  approaching,  and  a  woman  standing  at  a  tub  washing. 
The  distance  is  terminated  with  clumps  of  trees  and  low 
hedges,  enclosing  meadows,  over  which  passes  a  gleam 
of  sunshine." — (J.  S.) 

"  The  little  Landscape,  which  Smith  calls  '  a  pleasing 
little  picture  by  the  master,'  is  considered  by  Burger  to 
be  superior  even  to  the  Water  Mill.  Near  the  house  are 
a  man  and  woman :  excellent  figures  by  the  unknown 
artist  who  also  '  stuffed '  Ruysdael's  pictures.  The  in- 
verted trees  reflected  in  the  water  are  exquisite  in  colour." 
—  (W.  B.) 


162 

About  1640,  Rembrandt  made  about  twenty 
sketches  from  life  of  the  animals  in  the  Amsterdam 
menagerie.  Potter  followed  his  example;  and,  in 
1650,  painted  Orpheus  Charming  the  Animals, 
which  hardly  adds  to  his  reputation.  It  is  not  so 
grotesque  as  Cuyp's  interpretation  of  the  same  sub- 
ject; but  though  he  gives  proof  of  his  ability  in 
painting  the  domestic  animals  of  his  acquaintance 
(including  a  viper  and  a  lizard)  he  is  not  so  suc- 
cessful with  the  lions,  buffalo,  camel,  elephant,  uni- 
corn, wolf,  and  stag.  The  landscape,  however,  is 
charming. 

"  The  Shepherds  and  Flocks  in  a  Landscape  presents 
an  analogous  disposition.  The  left  half  of  the  canvas  is 
occupied  by  an  eminence  covered  with  shrubs  and  topped 
with  a  small  grove  of  trees.  On  the  right  rises  the  paint- 
er's favourite  oak  with  rough  and  broken  bark.  In  the 
broad  perspective  appears  a  horizon  of  dunes  and  woods 
of  wild  aspect,  with  an  old  brick  tower  rising  above  the 
mass  of  verdure.  The  shepherd  leans  against  the  oak 
playing  his  bagpipe.  His  wife  sits  at  his  feet  and  nurses 
an  infant,  and  his  dog  is  tied  to  the  tree.  The  placid 
sky,  half  overcast,  the  heavy  tonality  of  the  landscape, 
the  tranquil  attitudes  of  the  animals,  all  indicate  the  calm 
of  one  of  those  soft  summer  days  on  which  pastoral 
melody  alone  breaks  the  silence." — (E.  M.) 

Potter's  Herdsman  and  Cattle  is  a  tiny  gem, 
ten  inches  by  six  only.  Sitting  beside  a  hut,  the 
cowherd  is  watching  his  cows  and  sheep. 

"  It  is  a  sort  of  excellent  sketch,  coloured  in  fine  red 
tones  like  a  Cuyp." — (W.  B.) 

Another  notable  Dutch  Landscape  is  by  Philips 
de  Koninck,  signed,  and  dated  1676,  with  figures 
by  Lingelbach.  A  Clearing  in  a  Wood,  with 
figures  by  A.  Van  de  Velde,  is  a  charming  sylvan 
scene  of  high  quality. 


AMSTERDAM  163 

Painters  Studying  from  Nature  may  be  re- 
garded as  Johannes  Both's  masterpiece.  It  shows 
an  extensive  landscape  of  great  beauty.  The  artist 
is  seated  on  a  rock  with  his  back  to  us.  His 
brother  sits  facing  him,  listening  to  a  third  person 
who  is  pointing  out  some  beauty  in  the  scene.  A 
shepherd  bends  down  in  conversation  with  the 
artist.  Other  figures  enliven  the  landscape  in  the 
distance. 

"  The  eye  glances  over  an  extensive  lake  to  a  hill  which 
rises  in  the  centre  of  the  valley,  and  along  the  base  of 
which  the  mist  of  the  morning  still  floats.  A  few  build- 
ings are  visible  on  the  surrounding  eminences,  and  the 
more  distant  mountains  recede  in  diaphanous  gradation 
until  their  summits  either  blend  with  the  clouds,  or  are 
faintly  distinguishable  from  the  glowing  warmth  of  the 
horizon.  The  appearance  is  that  of  a  glorious  summer's 
morning.  In  contemplating  this  splendid  work,  it  is 
impossible  not  to  feel  the  most  intense  delight ;  for  such 
is  the  exhilarating  beauty  of  the  morning,  the  grandeur 
and  wildness  of  the  scenery,  the  rich  luxuriance  of  the 
vegetation,  the  cooling  freshness  of  the  roaring  cataract, 
and  the  enchanting  prospect  of  the  lake  and  the  surround- 
ing hills,  that  the  more  we  gaze,  the  more  we  become 
enraptured  with  such  a  consummation  of  all  that  is  at- 
tractive in  nature,  and  excellent  in  art." — (J.  S.) 

Van  der  Venne,  who  rarely  painted  life-size 
figures,  has  an  enormous  canvas  of  a  Cavalcade 
of  Prince  Maurice  and  his  relatives  in  a  fine  land- 
scape. The  train  of  nobles  and  servants  is  drawn 
up  like  a  procession. 

"  Correct  drawing,  elegant  carriage,  expressive  faces, 
beautiful  colour,  free  and  solid  touch,  Van  der  Venne 
has  put  into  it  all  the  fine  qualities  that  distinguish  his 
little  pictures,  together  with  a  certain  grandeur  and  very 
deliberate  pride." — (W.  B.) 

His  remarkable  picture,  the  Fishers  of  Souls, 


164  THE   RIJKS    MUSEUM 

is  a  satire  on  the  warring  religious  sects  of  the 
day. 

"  The  Romanists,  headed  by  a  figure  of  Folly,  are  on 
the  right.  Behind  the  Fool,  who  is  cheered  by  the  urchins, 
throng  doctors,  lords  and  cardinals  preceding  the  Pope 
himself  borne  in  triumph  in  this  carnival  crowd.  In  the 
middle  of  the  composition  is  a  broad  river  with  boats  to 
save  those  who  have  fallen  into  the  water  and  are  in 
danger  of  drowning — in  heresy.  On  the  other  side  of  the 
river  are  the  Protestants — thousands  of  little  figures.  In 
the  background  is  a  rainbow — the  sign  of  the  new  light. 
From  beginning  to  end  the  composition  is  a  very  witty 
allegory,  excellently  painted.  The  Fool  and  all  the  heads 
in  the  foreground  possess  incomparable  expression  and 
vivacity."— (W.  B.) 

The  View  of  Amsterdam  from  the  Y,  painted 
in  1686,  is  the  largest  of  Willem  Van  de  Velde's 
works.  He  here  represents  the  panorama  of  the 
city  with  its  port,  docks  and  principal  buildings. 
In  the  centre  is  the  merchant  ship  Holland,  home 
from  one  of  her  first  voyages  to  the  East  Indies, 
received  with  salutes  by  the  ships  at  anchor,  with! 
the  city  yacht,  flagged  and  richly  adorned,  coming 
to  meet  her. 

"  The  artist  has  employed  all  the  resources  of  his  palette 
on  the  scene.  His  most  brilliant  colouring,  his  broadest 
and  most  animated  work  are  in  perfect  accord  with  the 
subject  treated." — (E.  M.) 

The  Cannon  Shot  is  a  brilliant  record  of  minute 
and  privileged  observation. 

"  Besides  the  purely  picturesque  aspects  of  the  sea  which 
he  had  to  paint  for  private  persons,  he  was  more  than 
once  charged  with  the  duty  of  reproducing  some  of  the 
most  glorious  actions  of  the  Dutch  navy.  Associated  with 
the  official  mission  which  the  Admiralty  had  confided  to 
his  father,  by  accompanying  him  to  sea,  he  was  able  to 
profit  from  the  facilities  that  were  granted  to  him  for 


AMSTERDAM  165 

his  studies.  In  his  picture  of  the  first  of  the  engagements 
of  the  Four  Days'  Battle,  we  see  in  the  foreground  the 
artist  standing  in  a  ship's  barge  so  as  to  follow  the  course 
of  the  fight  at  close  quarters.  From  the  sixth  to  the  thir- 
teenth of  June,  1666,  Willem,  like  his  father,  stayed  with 
the  fleet,  and  had  himself  taken  to  the  spots  he  considered 
most  favourable  for  taking  sketches  from  nature.  It  is 
even  said  that  for  the  study  of  the  effects  that  he  wanted 
to  produce,  De  Ruyter,  who  held  him  in  high  esteem, 
sometimes  had  the  guns  of  the  flagship  fired  expressly 
for  his  benefit.  At  any  rate,  that  is  the  subject  of  the 
Cannon  Shot,  in  which  he  has  represented,  in  a  dead 
calm,  a  great  ship  in  full  sunlight  standing  out  against 
the  thick  clouds  of  smoke  produced  by  its  guns." — (E.  M.) 

Jan  van  Goyen  has  five  fine  river,  meadow,  and 
city  views.  His  View  of  Dordrecht  (1650)  ranks 
as  a  masterpiece  with  the  Dutch  River  Banks 
(1653)  of  the  Louvre,  which  also  belongs  to  his 
best  period.  About  1650,  his  colour  passed  to 
the  silvery  grey,  and  his  execution  continued  to 
broaden. 

Ludolf  Bakhuysen  has  eight  pictures  of  marine 
subjects.  In  the  View  of  the  Y  at  Amsterdam 
from  the  Mopelsteiger  Quay, 

"many  vessels  of  various  descriptions  are  in  port;  and 
on  the  quay  in  front  are  a  number  of  persons,  amongst 
whom  are  a  woman  with  a  child  in  her  arms,  sitting  on 
the  steps  of  a  house,  and  a  boy  near  her,  playing  with  a 
dog.  On  the  opposite  side  are  a  sailor  seated  on  some 
bales  of  goods,  and  a  gentleman  (said  to  be  intended  for 
the  artist)  standing  near  him.." — (J.  S.) 

"  Bakhuysen  has  a  great  reputation  for  his  stormy  seas 
— an  overdone  reputation,  in  my  opinion.  If  he  is  some- 
times able,  as  in  the  tempest  effect  in  Haarlem  Lake,  he 
is  often  detestable."— (W.  B.) 

The  Embarkation  of  De  Wit  is  a  view  from 
the  shore,  looking  out  to  sea,  where  several  ships 
are  ready  for  sailing. 


166  THE    RIJKS    MUSEUM 

"  The  whole  extent  of  the  shore  is  occupied  by  numer- 
ous persons,  assembled  to  witness  the  embarkation  of 
the  Grand  Pensioner.  He  is  attended  by  soldiers,  and 
surrounded  by  numerous  spectators." — (J.  S.) 

Hackaert's  Avenue  of  Ash  Trees  represents 
the  entrance  to  a  park  from  which  a  party  of  hunts- 
men is  about  to  start  forth  in  the  early  morning. 
There  is  a  large  sheet  of  water  on  the  right,  and 
the  light  shines  beautifully  on  the  trunks  of  the 
trees  that  border  the  park. 

The  Primitives  and  their  immediate  successors 
are  almost  entirely  lacking  here.  Exceptions,  how- 
ever, are  a  striking  portrait  by  the  Master  of  the 
Death  of  Mary,  and  another  excellent  one,  Philip, 
Bishop  of  Brabant,  by  Mabuse.  Herri  de  Bles 
is  credited  with  an  early  altar-piece  of  fine  quality. 
Paradise  is  so  well  preserved  that  it  might  have 
been  painted  a  year  ago. 

"  The  circular  picture  shows  us  in  various  episodes 
Adam  and  Eve  in  the  Garden  of  Eden  from  the  Creation 
until  the  Fall.  Around  the  edges  are  signs  of  the  Zodiac. 
The  colour  is  rich,  the  figures  delicate.  The  story  is  clearly 
told  and  is  not  unlike  a  '  continuous  performance.'  You 
see  Adam  asleep  and  over  him  stoops  the  Almighty ;  then 
Eve  is  shown.  The  angel  with  the  flaming  sword  is  por- 
trayed with  a  vivid  line  that  recalls  the  miniaturist.  A 
rare  painter." — (J.  G.  H.) 

Jan  van  Scorel's  Mary  Magdalen  shows  Italian 
influence.  The  seated  Mary  is  richly  dressed. 

"  She  holds  in  her  right  hand  a  box  of  perfume,  her  left 
hand,  beautifully  painted,  rests  on  her  knee.  Behind  is  a 
mountainous  landscape,  distinctly  Italian,  beside  her  a 
tree.  The  head  is  north  Lombardian  in  character  and 
colouring,  the  glance  of  the  eyes  enigmatic.  A  curi- 
ously winning  composition,  not  without  morbidczsa." — 
(J.  G.  H.) 

Van  der  Heist's  Admiral  Aart  van  Nes  and  his 


e 


O 


THE  PARROT  CAGE— Jan  Steen 

RIJKS     Ml  SKIM 


AMSTERDAM  167 

Wife  are  companion  pieces,  which,  placed  beside 
the  Syndics,  are  able  to  maintain  their  own  in  that 
dangerous  vicinity.  The  head  of  the  woman  is 
superb.  Both  have  marine  backgrounds  by  Back- 
huysen. 

Mary  Henrietta  Stuart  is  seated  in  an  arm- 
chair with  gold  carvings  surmounted  by  a  canopy 
of  violet  silk.  She  is  dressed  in  white  and  she 
holds  an  orange,  the  emblem  of  her  husband's  race. 

"  There  is  one  Van  der  Heist  we  could  not  pass.  It 
looks  like  the  portrait  of  a  corpulent  woman,  but  is  that 
of  Gerard  Bicker,  bailiff  of  Mniden.  A  half-length  figure 
turned  to  the  left,  the  bailiff  a  well-fed  pig,  holds  a  pair 
of  gloves  in  his  right  hand,  which  he  presses  against  his 
Gargantuan  chest.  His  hair  is  long  and  curly.  The  fabrics 
are  finely  wrought." — (J.  G.  H.) 

The  character  study  of  Admiral  Lieffde  is  also 
a  masterly  work. 

One  of  the  most  charming  pictures  in  this  gal- 
lery is  the  Little  Princess  by  P.  Moreelse,  which 
is  also  one  of  the  most  frequently  copied  pictures 
in  the  Rijks.  The  little  girl  is  superbly  dressed 
and  her  rich  clothing,  jewels  and  enormous  ruff 
are  superbly  painted.  She  places  her  hand  on 
the  head  of  a  spaniel. 

Rubens  has  a  very  charming  portrait  of  his  be- 
loved, plump  Helen.  It  is  a  bust,  hair  puffed  over 
the  ears,  high  and  stiff  fan-collarette  rising  behind 
the  head,  bare  neck,  satin  corsage,  necklace  and 
other  jewellery.  His  Anne  of  Austria  is  also 
famous. 

J.  B.  Franck  is  a  masterpiece  in  Van  Dyck's 
Flemish  manner.  He  has  an  oval  face,  light  curl- 
ing hair,  moustache  and  small  tufted  beard.  He 
wears  a  full  black  cloak,  and  plain  pendant  collar. 
The  colour  is  exceedingly  fresh  and  brilliant. 


168  THE   RIJKS    MUSEUM 

Two  striking  portraits  are  those  of  Prince 
William  Henry  of  Orange  and  Princess  Mary 
of  England,  whom  he  afterwards  married. 

"  The  former  appears  to  have  been  about  twelve  years 
of  age;  he  has  dark  flowing  hair,  and  is  dressed  in  a  vest 
and  hose  of  red  silk,  a  mantle  of  the  same  colour,  and 
a  broad  lace  frill.  His  left  hand  holds  his  hat,  and  the 
right  the  hand  of  the  princess.  She  is  attired  in  a  richly- 
embroidered  white  satin  robe  and  a  lace  kerchief,  and  is 
decked  with  a  pearl  necklace  and  a  diamond  brooch." 

-a  s.) 

T.  De  Keyser  has  a  brilliant  Equestrian  Portrait 
of  Pieter  Schout,  Bailiff  of  Hagestein.  N.  Elias 
ranks  high  with  his  two  representations  of  Renier 
Hinlopen  and  his  wife. 

One  of  the  best  portraits  in  the  gallery  is  Maria 
Voogt,  an  old  lady  with  a  silver-clasped  Bible  in 
her  hands. 

"  As  a  piece  of  insight  into  character  this  picture  by 
Hals  stands  in  the  very  highest  order  of  portrait-painting. 
As  a  piece  of  mere  painting,  apart  from  any  such  consider- 
ation, it  may  be  set  side  by  side  with  any  portrait  from 
any  hand  and  will  be  found  to  have  no  superior.  Hals 
has  given  one  here  the  inner  life  of  his  sitter — that  which 
at  times  one  is  tempted  to  declare  he  cannot  give.  That 
brown,  Dutch-bound,  silver-clasped  Bible  there  has  got 
itself  well  into  the  life  of  the  clear-eyed  old  dame.  It 
is  no  hypocrisy — you  may  swear  it  from  her  face — that 
made  her  choose  to  be  painted  so. 

"  That  book,  indeed,  is  so  matchless  a  piece  of  still-life 
painting,  that  it  would  be  open  to  the  charge  of  being 
too  interesting  in  itself,  and  too  little  of  an  accessory,  if 
it  were  not  kept  entirely  in  its  place  by  the  interest  of 
the  face  itself."— (G.  S.  D.) 

It  is  very  instructive  to  compare  this  with  Rem- 
brandt's Elizabeth  Bas. 

"  Walk  two  rooms  off  and  look  at  Rembrandt's  portrait 


AMSTERDAM  169 

of  Elizabeth  Jacobs  Bas,  the  widow  of  Admiral  Swarten- 
hont.  You  will  see  at  once  that  Hals's  picture  is  in  cool 
daylight  compared  with  the  artificial  golden  light  with 
which  Rembrandt's  picture  is  suffused.  As  one  looks  at 
the  admiral's  wife,  one  feels  the  conviction  that,  whatever 
happened  at  sea,  it  was  she  who  commanded  the  ship  at 
home.  There  is  strength  in  every  line  of  the  shrewd, 
homely  face,  and  in  the  quiet  ease  of  the  strong  hands 
which  lie  folded  upon  one  another.  The  hands  of  Hals's 
portrait  are  fully  as  expressive  of  character,  but  the  char- 
acter is  different.  There  is  quiet,  firm  decision  in  them, 
but  they  do  not  belong  to  a  personality  of  the  same  rugged 
and  robust  strength  as  the  other  housewife." — (G.  S.  D.) 

Nicholas  Hasselaer  and  his  wife  are  two  of 
Hals's  masterpieces. 

Hals's  Jester  or  Lute  Player  with  the  wonder- 
ful smile  and  truthful  pose,  of  the  hands  is  widely 
known. 

"An  old  tradition  has  it  that  this  is  a  portrait  of  the 
artist's  pupil,  Adriaen  Brouwer.  But,  whoever  be  the 
original,  it  is  quite  impossible  to  stand  before  the  picture 
without  feeling  assured  that  it  is  a  portrait  to  the  life 
of  some  one.  Perhaps  in  the  whole  range  of  art  there 
is  nothing  more  convincingly  life-like." — (G.  S.  D.) 

The  Jolly  Toper  is  in  similar  vein ;  and  near 
this  hangs  another  Jolly  Toper  by  Hals's  pupil 
Judith  Leyster. 

Another  fine  female  portrait  by  Hals  is  Feyna 
Van  Steenkiste.  Hals  and  his  wife  is  also  a  gem. 

"  Hals  has  painted  himself  by  the  side  of  his  young 
wife  and  the  two  figures  stand  out  against  a  strong  and 
charming  landscape  background.  This  work  is  one  of  the 
greatest  breadth  and  mastery  that  ever  left  the  hands 
of  the  master."— (P.  M.) 

Barent  Fabritus  is  nobly  represented  by  a  por- 
trait of  Willem  van  der  Helm,  architect  of  the 


170  THE   RIJKS    MUSEUM 

city  of  Leyden,  with  his  wife  and  child,  signed, 
and  dated  1656. 

Ter  Borch's 

"  Helena  van  der  Schalcke  is  a  quaint  Dutch  child  stand- 
ing: a  serious  little  body  carrying  a  basket  on  her  right 
arm  like  a  good  housewife." — (J.  G.  H.) 

Of  Thomas  de  Keyser's  eight  portraits,  Pieter 
Schout  (dated  1660)  is  generally  considered  the 
finest.  It  was  celebrated  in  verse  by  the  poet  Jan 
Vos. 

Johannes  Cornelisz  Verspronck's  Pieter  Ja- 
cobsz,  Burgomaster  of  Haarlem  in  1614,  is  a 
splendid  presentment  of  a  Dutch  "  Schout."  It 
is  dated  1641. 

Codde's  Adoration  of  the  Shepherds  is  en- 
tirely out  of  the  line  of  his  usual  subjects. 

"  He  belongs  to  that  group  of  Little  Masters  who  de- 
voted their  brush  to  pleasant  social  gatherings,  military 
parties,  and  gallant  entertainments.  He  sought  his  heroes 
in  boudoirs,  barracks  and  gambling-hells.  He  was  of 
the  same  art  sect  as  Esaias  Van  de  Velde,  the  disciple  of 
Dierck  Hals,  the  rare  competitor  of  Le  Ducq  and  Palam- 
edes,  with  whom  he  had  often  been  confounded." — (H. 
Havard.) 

Dierck  Hals  has  a  lively  Open  Air  Party  in 
which  the  particularities  of  the  school  he 
founded  are  fully  displayed. 

Jan  Lijs's  Music  Party,  dated  1625,  belongs  to 
his  best  period.  The  picture  deserves  attention,  be- 
cause the  works  of  this  admirer  of  Caravaggio  are 
rare. 

In  Govaert  Flinck's  Isaac  Blessing  Jacob 
(1638),  a  subject  affected  by  all  Rembrandt's 
pupils,  the  cunning  of  Jacob's  face  is  finely  ex- 
pressed. 


AMSTERDAM  171 

Santvoort's  talents  lay  chiefly  in  the  direction  of 
female  portraiture.  His  powers  are  brilliantly  dis- 
played in  his  Four  Regents  of  the  Serge  Hall 
(1643)  (see  page  142). 

"  A  serious  and  well-considered  work,  finely  modelled 
and  very  characteristically  treated." — (E.  M.)  -~~ 

Peasants  in  friendly  converse  in  an  inn  ranks 
among  this  artist's  best  interiors. 

The  newest  acquisition 

"  is  the  work  of  an  unknown  seventeenth-century  master, 
possibly  Spanish,  though  the  figures,  background  and  ac- 
cessories are  Dutch.  Two  old  men,  their  heads  bowed, 
sit  at  table.  Across  their  knees  are  napkins.  A  youth 
attired  in  dark  habiliments,  his  back  turned  to  the  specta- 
tors, is  pouring  out  wine  or  water.  The  canvas  is  large, 
the  execution  flowing;  perhaps  it  portrays  the  disciples 
at  Emmaus." — (J.  G.  H.) 


THE   NATIONAL   MUSEUM 
STOCKHOLM 

THE  National  Museum,  a  handsome  edifice  in  the 
Renaissance  style,  was  erected  in  1850-1866.  It  is 
beautifully  situated  at  the  south  end  of  Blasii- 
holm,  on  the  broad  quay  of  Blasiiholmshamnen, 
looking  across  the  water  to  the  Royal  Palace.  The 
principal  fagade  is  ornamented  with  bas-reliefs  and 
marble  statues,  and  the  marble  stairway  within  is 
a  work  of  art.  Like  the  Louvre,  this  is  a  collec- 
tion of  museums.  The  Picture  Gallery  occupies 
the  second  floor  and  contains  more  than  1000 
works.  The  chief  treasures  are  Boucher's  Birth 
of  Venus;  Rembrandt's  Conspiracy  of  Claudius 
Civilis;  and  the  Chardins. 

The  Gallery  of  Old  Masters  was  chiefly  collected 
during  the  Eighteenth  Century,  and  was  enriched 
by  Queen  Louise  Ulrica,  a  sister  of  Frederick  the 
Great.  She  was  aided  by  Count  Karl  G.  Tessin, 
the  Swedish  ambassador  at  Paris,  whose  collection, 
principally  of  French  pictures,  she  purchased.  Her 
son,  Gustavus  III.,  also  an  art-lover,  did  much  for 
the  gallery,  which  has  grown  by  the  addition  of 
collections  from  royal  castles,  special  bequests, 
gifts  and  purchases. 

The  Flemish  and  Dutch  Schools  outnumber  all 
others ;  and  include  several  works  of  the  first  order. 
The  great  strength  of  this  gallery,  however,  lies 
in  the  superb  collection  of  the  works  of  the 
French  Masters  of  the  Eighteenth  Century,  which 
is  only  equalled  by  the  Louvre,  Wallace  Gallery, 
and  the  Hermitage. 

172 


STOCKHOLM  173 

The  Heilborn  Collection,  bequeathed  in  1902. 
consists  of  examples  of  Millet,  Corot,  Dupre  and 
others  of  the  Barbizon  School. 

The  Italian  Masters  will  not  detain  us;  and  we, 
therefore,  hasten  to  what  are  considered  the  gems 
of  the  Museum. 

Boucher's  beautiful  works  charm  the  eye  at  once 
with  their  scenes  of  delicate  fancy  and  lovely  col- 
our. The  "  Michael  Angelo  of  coquetry,"  a 
French  critic  has  aptly  called  him.  Here  we  have 
Venus  at  Her  Toilet,  surrounded  by  the  three 
Graces;  Venus  and  the  Graces  at  the  Bath, 
similar  to  the  one  in  the  Louvre,  but  with  more 
figures ;  Leda  and  the  Swan,  one  of  the  treasures 
of  the  gallery ;  Pensent-ils  aux  raisins,  where  a 
shepherdess  seated  beneath  a  tree  offers  grapes 
from  her  basket  to  a  shepherd  at  her  feet  in  an 
idyllic  landscape;  the  Toilet,  depicting  a  young 
lady  of  fashion  seated  before  her  mirror  and  turn- 
ing to  look  at  the  wares  a  kneeling  milliner  is  ex- 
hibiting from  her  boxes,  while  a  white  cat  sleeps 
upon  a  red  arm-chair;  and,  finally,  the  Birth  of 
Venus,  also  known  as  the  Triumph  of  Galatea. 

"  The  Birth  of  Venus  is  one  of  the  most  beautiful  pic- 
tures that  Boucher  ever  painted:  it  is  clear,  luminous  and 
smiling.  The  attendants  form  a  beautiful  throng  of  loves, 
doves,  nymphs  and  dolphins,  amorously  fluttering  in  the 
air  and  sporting  in  the  waves.  Seated  in  her  car,  Venus 
smiles  on  the  pearls  and  jewels  that  are  offered  to  her 
on  a  gold  plate  by  a  nymph  lifted  up  in  the  arms  of  a 
robust  Triton.  The  abandoned  and  provoking  grace  of 
the  attitude,  and  the  nudities  of  the  nymphs  are 
by  an  epicurean  who  peopled  his  Olympus  with 
easy  goddesses.  The  abundant  composition,  the  can- 
vas filled  to  the  brim  with  a  sort  of  easy-going  pleasure 
and  irrepressible  dash,  and  the  forms  born  as  if  by  en- 
chantment under  the  swift  brush,  are  by  an  artist  of  true 


174         THE   NATIONAL  MUSEUM 

race,  in  love  with  life,  who  never  knew  what  a  dull  effort 
was,  and  for  whom  production  was  a  delight." — (A.  M.) 

Lancret's  Swing,  Blind  Man's  Buff  and  Skater, 
in  which  the  young  girl  rests  her  foot  upon  the 
knee  of  her  admirer,  who  is  fastening  her  skate, 
are  characteristic  examples  of  his  best  work. 

Pater's  Bathers  is  a  variant  of  the  one  in  the 
Louvre,  with  fewer  figures. 

Jean  Baptiste  Oudry  was  a  great  friend  of  Count 
Tessin,  and,  therefore,  it  is  not  surprising  to  find 
eleven  of  his  works  in  this  gallery.  The  most  re- 
markable are: 

Musical  Instruments,  where  a  monkey  on  a 
stone  pedestal  is  playing  the  violin,  and  below,  by 
a  blooming  rosebush,  a  cock,  hen  and  chickens  are 
grouped ;  Flowers  and  Fruits,  one  of  those  charm- 
ing canvases  that  Oudry  called  "  devant  des 
cheminees  " ;  The  Lion  and  the  Gnat,  one  of  those 
pictures  illustrating  the  Fables  of  La  Fontaine 
which  Oudry  designed  for  the  Beauvais  manufac- 
tory of  tapestry;  and  Still  Life,  representing  a 
silver  dish  on  a  Persian  cloth,  a  dead  hare  and 
other  pieces  of  game.  More  famous,  however,  is 
the  Stag-Hunt,  exhibited  at  the  Salon  of  1751. 
It  is  a  large  picture,  representing  the  animal  in  the 
forest  surrounded  by  dogs,  and  is  the  equal  of 
those  that  adorn  Fontainebleau. 

Of  Desportes,  the  best  are  Remains  of  a  Break- 
fast; and  Dead  Game  and  Fruits.  The  latter 
depicts  two  dead  pheasants,  a  vase  and  a  superb 
silver  bowl  containing  velvety  peaches  that  reflect 
their  glowing  hues  into  two  silver  plates  standing 
on  the  oak  sideboard. 

"  It  was  not  hard  for  Desportes  to  find  on  his  palette 


STOCKHOLM  175 

the  velvety  vermilion  of  the  peach,  the  ruby  of  the  pome- 
granate or  the  pale  ashy  yet  transparent  gold  of  the  Fon- 
tainebleau  grape.  Moreover,  he  brought  to  this  modest 
branch  of  art  a  rare  perfection,  and  in  our  school  I  see 
only  Chardin  who  excels  him  in  the  firmness  of  the  im- 
pasto  and  originality  of  manner." — (C.  B.) 

Ten  fine  Chardins  claim  attention.  These  are 
the  Tapestry- Worker ;  the  Artist  Designer;  Ser- 
vant Drawing  Water ;  Amusement  of  Private  Life 
(Lady  reading);  Economy;  Laundress;  the 
Morning  Toilet;  Dead  Hare;  and  copies  of 
Mother  and  Daughter  and  Benedicite  in  the 
Louvre  (see  page  89).  Of  these,  the  Morning 
Toilet  is  perhaps  the  most  valued. 

Nattier's  Duchess  of  Orleans  as  Hebe,  the 
Marquise  de  Broglie,  and  the  Marquise  de  1'Ope- 
tal  are  choice  specimens  of  this  graceful  colourist. 
The  latter's  smiling  countenance  is  set  off  by 
her  white  dress,  rose-coloured  scarf  and  wreath 
of  bluets. 

Rigaud's  Cardinal  Fleury,  life  size,  dressed  in 
red,  and  seated  in  an  arm-chair  with  a  table  on  the 
right,  is  a  magnificent  portrait. 

The  Portrait  of  Louis  XV.  as  a  child,  by  Van 
Loo,  is  also  one  of  the  treasures  here. 

Eight  representative  works  by  Rembrandt  show 
this  painter  at  all  periods  of  his  career.  First  in 
importance  comes  The  Conspiracy  of  Claudius 
Civilis,  formerly  known  as  The  Conspiracy  of 
John  Ziska  against  John  Huss.  This  is  a  frag- 
ment of  a  great  work,  painted  in  1661  for  the 
Town  Hall  of  Amsterdam,  and  represents  the  mid- 
night banquet  at  which  Claudius  Civilis  persuaded 
the  Batavians  to  throw  off  the  Roman  yoke.  The 
picture  was  rejected,  and  it  became  difficult  to  dis- 


176         THE  NATIONAL  MUSEUM 

pose  of  the  enormous  canvas  (about  sixty-five  feet 
square),  the  largest  work  Rembrandt  ever  pro- 
duced. This  was  consequently  cut  down  to  the 
central  group,  which,  after  many  vicissitudes, 
finally  reached  Stockholm. 

"  The  broad  execution  of  the  surviving  fragment  har- 
monises perfectly  with  the  obscure  character  of  the  epi- 
sode, and  the  powerful  effect  obtained  by  the  simplest 
means  attests  the  painter's  mastery  by  the  varied  play  of 
the  colours  and  the  delicate  harmonies  they  produce.  The 
portion  of  the  right  in  particular  is  a  miracle  of  brilliance. 
The  man  with  long  white  hair  in  a  cymar  of  pale  gold 
tissue,  and  the  four  strongly  illuminated  figures  nearest 
him,  make  up  a  chromatic  passage  of  exquisite  grace  and 
distinction."— (E.  M.) 

A  very  important  early  work  is  St.  Anastasius, 
an  old  man,  bald  and  with  long  white  beard,  medi- 
tating in  the  shadows. 

"  The  saint  is  seated  near  a  window  in  a  lofty  vaulted 
oratory,  divided  by  an  arcade  from  a  flagged  corridor 
beyond ;  against  one  of  the  uprights  of  this  arcade  is  an 
altar  of  carved  stone  and  on  it  a  crucifix  set  in  a  frame- 
work of  small  reddish  marble  columns  with  gilded  shafts 
and  capitals.  He  rests  his  left  hand  on  the  arm  of  his 
chair  and  reads  devoutly  from  a  great  folio  on  the  table. 
His  dress  is  a  red  skull-cap  and  a  long  robe  of  that 
purple-grey  tint  so  much  in  favour  with  the  painter  at 
that  period.  Its  cool  tones  repeated  here  and  there  in 
the  pale  sky  beyond,  the  curtains  of  the  arcade,  and  the 
pavement  of  the  adjoining  vestibule,  are  happily  con- 
trasted with  the  warm  browns  and  yellows  that  pervade 
the  picture.  The  harmony  of  these  deliberately  juxta- 
posed tints  is  very  delicate." — (E.  M.) 

To  this  period  also  belongs  St.  Peter,  a  study 
of  an  old  man  in  a  brown  mantle,  grasping  a  staff, 
and  pressing  a  key  to  his  breast.  The  other  Rem- 
brandts  in  this  gallery  are  portraits. 


STOCKHOLM  177 

That  of  Saskia,  painted  in  1632,  the  year  of  her 
marriage,  represents  her  in  profile,  enveloped  in 
an  embroidered  mantle  and  adorned  with  pearls. 
She  holds  a  closed  fan  in  her  right  hand. 

About  the  same  period,  Rembrandt  painted  the 
Portrait  of  a  Young  Girl,  supposed  to  be  his 
sister.  To  1654  belongs  the  Young  Servant,  or 
Cook,  who  appears  as  the  Girl  with  the  Broom 
in  the  Hermitage  (see  page  193).  Here  she  is  a 
little  older,  but  her  features  have  altered  but  little, 
the  face  being  a  trifle  longer  and  the  hands  less 
coarse. 

"  Leaning  in  a  musing  attitude  on  a  window-sill,  she 
indulges  in  some  youthful  day-dream.  Rembrandt,  no 
doubt,  to  give  her  pleasure,  seems  to  have  adorned  her 
simple  dress  with  some  trinkets  from  his  own  stores. 
She  wears  a  pearl  necklace;  her  red  frock  is  bordered 
with  gold  embroidery,  and  her  hair  is  drawn  stiffly  off  her 
forehead  and  confined  in  a  smart  cap.  The  execution  is 
.more  careful  and  finished  in  this  study,  but  it  has  all 
the  vigour  and  freshness  of  the  earlier  portrait.  The 
strong  shadows  are  relieved  by  warm  reflections,  very 
boldly  and  brilliantly  applied.  The  face,  though  calm, 
is  full  of  vitality.  The  skin  is  firm  and  supple,  showing 
the  blue  veins  here  and  there.  Youth,  health  and  the 
glow  of  expanding  life  seem  to  breathe  from  the  sturdy 
little  body."— (E.  M.) 

A  Portrait  of  an  Old  Man  and  one  of  an  Old 
Woman  are  signed  and  dated  1655. 

"  The  picture  of  the  wife,  who  wears  a  turban  and  a 
loose  brown  gown,  trimmed  with  fur,  is  a  broad  and 
sober  piece  of  work  subdued  in  colour,  but  distinguished 
by  a  gentle  refinement  of  handling  in  admirable  harmony 
with  the  serene  personality  of  the  sitter.  The  portrait 
of  the  husband,  a  grey-bearded  man  in  a  brown  dress  and 
black  hat,  is  no  less  remarkable  in  treatment ;  though 
unfortunately  in  very  poor  condition." — (E.  M.) 


178         THE   NATIONAL   MUSEUM 

A  splendid  Portrait  of  Daniel  Van  Aken,  a 
Lute-Player,  by  Frans  Hals,  was  acquired  in 
1901 ;  and  his  pupil,  Judith  Leyster,  is  repre- 
sented by  a  Flute-Player,  which  is  probably  a 
portrait.  It  is  interesting  to  compare  these 
works  with  F.  Bol's  Lute-Player. 

When  Rubens  was  in  Madrid  he  copied  Titian's 
Sacrifice  to  Fertility  and  the  Abandoned  Ariadne 
so  beautifully  that  these  copies  have  all  the  charm 
and  freshness  of  original  work.  Particularly 
beautiful  is  the  luminous  turquoise  light  in  the 
Sacrifice  to  Fertility. 

The  Three  Graces,  supporting  a  basket  of 
flowers,  similar  to  the  one  in  the  Prado,  is  charm- 
ing in  colour.  Of  his  four  sketches,  The  Daugh- 
ters of  Cecrops  finding  Erichthonios  is  highly 
valued. 

The  Salon  of  Rubens,  once  attributed  to  Van 
Dyck,  is  now  given  to  Cornelis  de  Vos,  as  the 
elder  of  the  two  women  in  the  foreground  is  sup- 
posed to  be  De  Vos's  wife.  The  other  is  Rubens's 
first  wife,  Isabella  Brandt.  The  room  is  simple 
but  elegant  in  style,  with  windows  looking  out 
upon  a  garden.  The  walls  are  hung  with  green 
and  gold  leather,  and  adorned  by  three  pictures, 
copies  in  miniature  of  Rubens's  own  Last  Judg- 
ment (in  Munich),  Lot  and  his  Daughters  (Vi- 
enna), and  Rubens  as  St.  George.  One  of  these 
is  placed  over  the  marble  chimney-piece.  Three 
children  are  playing  in  the  foreground  near  the 
ladies  with  a  puppy. 

Van  Dyck's  St.  Jerome,  an  early  work  in 
Rubens's  style,  shows  the  saint  in  red  drapery, 
reading  from  a  book.  Behind  him  stands  an 
angel ;  and  his  lion  is  at  his  feet. 


STOCKHOLM  179 

Snyder's  Still-Life  and  the  Fox  as  the  Guest 
of  the  Crane;  Jan  Fyt's  Dead  Game;  Jordaens's 
Adoration  of  the  Shepherds  and  King  Candaules 
tempting  Gyges  are  splendid  works. 

A  Satyr  and  Peasant,  by  G.  van  den  Eeckhout ; 
a  Stag  Hunt,  by  Paul  de  Vos ;  Cavaliers  at  Cards, 
by  Cornelis  de  Vos;  and  Four  Smokers  Round 
a  Table,  by  David  Teniers  the  Younger,  claim 
more  than  a  passing  glance. 

Peasants  at  their  Door,  by  Adriaen  Van  Os- 
tade,  is  a  charming  work;  and  an  Old  Woman 
Reading,  painted  in  1658,  by  an  unknown  artist, 
is  also  considered  a  masterpiece. 

Pieter  de  Hooch's  Letter  and  a  Woman  by  a 
Cradle  are  among  his  best  works. 

The  former  shows  a  young  woman  reading  a 
letter,  which  has  just  been  brought  to  her  by  a 
servant,  who  is  standing  in  the  door  that  opens  into 
the  courtyard.  In  the  back  of  the  room  a  young 
man,  glass  in  hand,  is  looking  out  of  the  window. 

The  Woman  by  a  Cradle  depicts  a  young 
mother  holding  her  child  on  her  knees. 

"  She  stands  out  vigorously  from  the  wall  that  is 
lighted  by  a  ray  of  sunlight.  In  the  background  the  serv- 
ant prepares  the  bed  with  its  green  hangings.  Through 
the  open  door — I  do  not  think  there  is  a  closed  door  in 
a  single  picture  of  Pieter  de  Hooch — we  perceive  a  street 
flooded  with  sunlight.  The  portions  in  shadow  lack  trans- 
parency, but  the  luminous  street  is  delicious." — (C.  de  R.) 

Of  landscapes  we  find  a  famous  large  wooded 
Flemish  Landscape,  by  Jacques  d'Arthois ;  sev- 
eral Ruysdaels  ;  a  View  of  Dordrecht,  by  Jan  Van 
Goyen ;  and  Hobbema's  fine  Landscape,  consist- 
ing of  a  red-roofed  farmhouse  shaded  by  four 
trees  and  situated  on  the  bank  of  a  canal  with 


i8o         THE   NATIONAL   MUSEUM 

a  church  spire  in  the  background.  Among  ex- 
amples by  Wouvermans,  are  a  charming  Winter 
Scene,  a  Coast  Scene  and  a  Bridge. 

A  Calm  Sea,  by  Jan  van  de  Capelle,  is  the  best 
marine  in  the  gallery,  and  H.  van  Vliet's  Interior 
of  St.  Ursula's  Church,  Delft,  the  best  archi- 
tectural painting.  Fish,  by  A.  van  Beyeren,  and 
Flowers,  by  Simon  Verelst,  and  Flowers,  by  D. 
Seghers,  are  the  best  works  of  their  class. 

Among  the  German  masters,  there  are  portraits 
by  Denner  and  works  by  the  Cranachs.  We  note 
a  Portrait  of  Philip  IV.  of  Spain,  attributed  by 
some  critics  to  Velasquez  and  by  others  to  G.  de 
Craeyer. 

Against  a  wall  and  a  column  the  young  beardless 
King  is  seen  bareheaded,  dressed  in  black,  with 
yellow  boots.  He  holds  his  hat  in  his  right  hand. 
His  white  horse  walks  to  the  left,  his  long  mane 
tied  with  knots  of  red  ribbon.  The  saddle  is  of 
purple  velvet  embroidered  with  gold. 

Four  rooms  are  devoted  to  the  Swedish  masters 
of  the  Seventeenth  and  Eighteenth  Centuries, 
among  which  are  Rosin's  large  Portrait  of  Gus- 
tavus  III.  and  his  two  Brothers,  seated  around 
a  table  discussing  a  plan  of  campaign.  The  cos- 
tumes and  other  details  are  remarkably  executed. 
Marie  Antoinette  and  her  Children  in  the  Park 
of  the  Trianon,  by  Wertmuller,  was  presented 
to  Gustavus  III.  by  the  Queen  of  France,  who, 
in  request  for  her  portrait,  out  of  courtesy  had 
it  painted  by  a  Swedish  artist  resident  in  Paris. 
The  Queen  is  seen  full  length,  with  her  children 
on  either  side,  wearing  a  white  dress  with  a  train 
of  the  colour  known  then  as  gorge  de  pigeon.  The 
columns  of  the  pavilion  appear  behind  the  trees. 


STOCKHOLM  181 

Portraits  of  Swedish  Kings  and  Queens  and  one 
of  the  painter,  Ehrenstrahl,  by  himself,  will  not 
detain  us  long ;  for  we  prefer  to  spend  a  few 
moments  with  the  Northern  Masters  of  the  Nine- 
teenth Century.  The  earliest  group  fell  under 
the  influence  of  Dusseldorf;  but  between  1860 
and  1870  Munich  and  Paris  attracted  the  Swedish 
painters.  Of  late  years  they  have  followed  in  the 
wake  of  Parisian  Impressionism. 

To  the  first  group  belong  Tidemand  Hans  Gude, 
Bengt  Nordenberg,  Fagerlin  and  K.  H.  d'Unker. 
To  the  second,  Boklund,  Hockert,  Wahlberg,  Georg 
von  Rosen,  Cederstrom,  Kronberg,  C.  G.  Hell- 
qvest,  Nils  Forsberg,  and  J.  E.  Bergh;  while  the 
modern  impressionists  include  Salmson,  Hagborg, 
Skanberg,  Zorn,  Larsson,  Bjorck,  Liljefors, 
Josephson,  Prince  Eugene  of  Sweden,  Nordstrom 
and  Kreuger. 

One  of  the  most  modern  in  style,  as  well  as 
earliest  of  Swedish  artists,  Fahlcrantz  (1774- 
1881),  is  well  exhibited  by  his  Castle  of  Kalmar 
by  Moonlight. 

Historical  scenes,  landscapes,  portraits,  and 
scenes  of  peasant  life  predominate.  A  few  scenes 
of  northern  mythology,  wedding-parties  in  Lap- 
land, Lapland  interiors,  elfin  dances  and  twilight 
scenes  tell  the  visitor  that  he  is  in  a  northern 
clime.  Of  special  note  are  P.  G.  Wickenberg's 
Dutch  Coast  and  Winter  Landscape;  Walberg's 
Twilight  on  the  Sea-Coast,  and  Landscape  by 
Moonlight;  Rydberg's  Spring  in  Skane;  Foger- 
lin's  On  the  Way  to  Recovery;  G.  von  Rosen's 
King  Eric  signing  a  Death  Warrant;  Edward 
Rosenberg's  March  Evening;  Hockert's  Lapp 
Interior,  Wedding  Party  in  Lapland  and  Burn- 


182         THE   NATIONAL   MUSEUM 

ing  of  Stockholm  Palace  in  1697;  E.  Joseph- 
son's  E.  Osterlind,  the  Painter ;  Skanberg's  Vene- 
tian Scene;  Borg's  Elks  in  Summer;  Ekstrom's 
Swedish  Landscape ;  Kroyer's  Edward  Grieg,  the 
Composer,  and  his  Wife;  H.  Glide's  Sandviks- 
Fjord  in  Norway;  Cederstrom's  Body  of  Charles 
XII.  on  its  way  to  Sweden;  and  Liljefor's  Sea 
Eagle  and  Foxes.  There  are  also  some  animal 
pictures  by  Kjoerboe;  religious  works  by  Koer- 
berg;  allegories  by  Winge;  and  some  excellent 
landscapes  by  Charles  XV.,  who  was  a  very 
clever  painter. 


VIRGIN  AND  CHILD  WITH  SAINTS— Francia 

THE    HERMITAGE 


MADOXXA  DEL  LATTE— Correggio 

THE    HERMITAGE 


THE    HERMITAGE 
ST.  PETERSBURG 

THE  Hermitage  is  a  sort  of  continuation  of  the 
Winter  Palace,  with  which  it  communicates  by 
means  of  several  covered  galleries.  It  was  orgin- 
ally  a  retreat  for  the  Empress  Catherine,  where 
she  could  enjoy  herself  without  the  formalities  of 
court.  Here  she  also  had  a  picture  gallery.  Many 
of  the  original  rooms  were  destroyed  when  the 
building  was  remodelled  by  Leo  von  Klenze,  of 
Munich,  between  1840  and  1850.  The  Hermit- 
age as  it  now  appears,  for  architectural  elegance, 
sumptuous  use  of  materials  and  richness  of 
decoration  is  unequalled  by  any  museum.  In 
fact,  it  is  a  Palace  of  Art.  The  pictures  hang 
upon  wall-hangings  of  silk ;  and  tables,  vases  and 
candelabra  of  malachite,  violet  jasper,  porphyry 
lapis-lazuli,  syenite  and  aventurine  meet  the 
eyes  everywhere. 

The  Hermitage  Gallery  is  a  collection  of  master- 
pieces. Two  famous  collections  formed  the 
nucleus:  Sir  Robert  Walpole's,  from  Houghton 
Hall,  in  Norfolk  (principally  gems)  ;  and  that  of 
Crozat,  Baron  de  Thiers.  To  these  were  added 
eleven  pictures  from  the  Choiseul  Gallery ;  thirty- 
eight  from  the  Empress  Josephine's,  at  Malmaison ; 
the  Spanish  Gallery  of  Mr.  Coesvelt,  the  banker; 
seven  from  the  Collection  of  Dr.  Crichton  of  St. 
Petersburg;  thirty  from  the  Collection  of  Queen 
Hortense  of  Holland ;  three  from  the  Soult  Col- 
lection; the  Barbarigo  Collection,  purchased  by  the 
183 


. 


184  THE   HERMITAGE 

Emperor  Nicholas  in  1850;  and  several  from  the 
gallery  of  William  II.  of  Holland.  Sir  Robert 
Walpole's  Collection  contained  a  large  proportion 
of  Italian,  Flemish  and  Dutch  works. 

By  Italian  masters  there  are  more  than  three 
hundred  pictures,  many  of  which  are  masterpieces ; 
and  the  Flemish  and  Dutch  schools  are  splendidly 
represented.  There  are  60  by  Rubens,  50  by 
Wouvermans,  41  by  Rembrandt,  40  by  Teniers,  34 
by  Van  Dyck,  10  by  B.  van  der  Heist,  9  by  Paul 
Potter;  and  a  number  of  fine  works  by  Snyders. 
In  short,  the  Hermitage  houses  about  2000  works. 

First  let  us  look  at  the  Italian  masters,  selecting 
Leonardo  da  Vinci's  Madonna  Litta  and  Holy 
Family  to  begin  with.  There  are  few  works  of 
the  great  master  more  important  than  these.  In 
both,  the  Virgin  is  of  a  lovely  type,  and  all  the  de- 
tails are  delicately  treated. 

The  Madonna  Litta  came  from  the  Collection 
of  the  Duke  di  Litta  of  Milan,  whence  its  name. 
It  is  also  called  The  Holy  Virgin  Suckling  the 
Infant  Jesus.  The  execution  and  style  of  this 
picture,  as  Passavant  points  out,  resembles  the 
School  of  Van  Eyck. 

The  Holy  Family  was  painted  for  Leo  X.  The 
group  consists  of  the  Virgin,  St.  Joseph,  St.  Cathe- 
rine, and  the  Child,  who  is  holding  out  his  hand  to 
receive  a  tassa  from  little  St.  John.  The  Ma- 
donna's head  is  of  great  dignity  and  tenderness, 
and  the  shadow  cast  by  her  drooping  eyelid^s  gives 
a  pensive  beauty  to  her  face.  The  hands,  heads, 
and  draperies  are  highly  studied. 

"  Mary  is  seen  full  face ;  she  gazes  on  her  son  with 
pride,  and  is  one  of  the  grandest  figures  of  the  mother 
of  our  Saviour  that  was  ever  painted;  the  Child,  full  of 


ST.   PETERSBURG  185 

gaiety  and  life,  embraces  her;  behind  them,  to  the  left  of 
the  spectator,  is  a  young  woman  reading.     This  figure  is 
frequently   named    St.    Catherine ;    but    it   is   probably   the 
portrait  of  the  sister-in-law  of  Leo  X.,  wife  of  Giulio  de 
Medici,  to  whom  she  was  married  in    1515.     On  the  op- 
posite side  is  St.  Joseph,  whose  head  is  the  most  original 
one    in    the   picture ;    he    looks    down   smilingly   upon    the 
Holy  Child  with  a  graceful  expression  of  playful  humour,  v 
This   is   Leonardo's   own   idea ;    for   it  was   far    from  the  • 
spirit  of  that  age  to   introduce  any  gaiety  into  a   sacred  V 
picture;  in  this  respect  he  was  the  precursor  of  Correg- 
gio."-(H.  B.) 

The  famous  St.  Sebastian,  representing  a  nearly 
nude  man  bound  to  a  tree  by  black  and  red 
ribbons,  is  attributed  by  some  authorities  to  Leo- 
nardo and  by  others  to  Luini.  The  figure  is  sup- 
posed to  be  a  portrait  of  Maximilian  Sforza,  Duke 
of  Milan.  Blanc,  however,  thinks  that  while  it 
may  have  been  painted  by  one  of  Leonardo's  fol- 
lowers, or  pupils,  it  was  certainly  composed  by  him. 
He  considers  it  a  work  of  rare  beauty ;  and  calls 
attention  to  the  splendid  anatomy  of  the  figure,  the 
rounded  curves,  the  correctly  drawn  muscles,  the 
warm  amber  glow  that  illuminates  the  figure,  the 
studied  pose,  the  delicacy  of  the  physiognomy,  the 
melancholy  expression  and,  finally,  the  beautiful 
flowers  in  the  foreground. 

The  Portrait  of  a  Young  Woman 

"  was  formerly  assigned  to  the  master,  Leonardo,  and 
is  worthy  of  him.  No  head  can  be  more  exquisite  in 
delicate  pencilling,  in  careful  detail  and  in  refined  senti- 
ment."—(J.  B.  A.) 

One  of  the  most  beautiful  of  Luini's  picture, 
known  as  The  Columbine,  represents  a  graceful 
young  woman,  whose  face  we  see  in  all  of  Luini's 
pictures,  gazing  with  downcast  eyes  and  smiling  at 


i86  THE   HERMITAGE 

a  columbine  that  she  holds  in  her  right  hand.  In 
her  left,  which  rests  on  her  lap,  she  has  a  spray  of 
jessamine.  Her  dress  is  white  with  a  yellow 
figure,  and  her  mantle  blue.  Her  hair  is  elabo- 
rately braided,  and  her  jewels  rich.  In  the  back- 
ground on  the  right  is  some  ivy-leaved  toad  flax 
(Linaria  cymbalaria)  and  on  the  left  some  as- 
plenium  adiantum  nigrum,  and  below  Edelweiss. 

Another  beautiful  work  by  Luini  is  St.  Cathe- 
rine, who  wears  a  red  robe  with  a  loose  diaphan- 
ous scarf  around  her  neck.  She  is  wreathed  with 
jessamine,  and  holds  a  book  at  which  she  is  look- 
ing. On  either  side  is  a  child  angel,  one  holding 
a  wheel  and  the  other  a  palm. 

The  Madonna  della  Casa  Alba,  though  painted 

/ Q  in  1508  after  Raphael  had  left  Florence,  recalls 

/Ao^-the    Madonnas    of   his    Florentine   period.     The 

Virgin,  with  a  book  in  one  hand,  looks  fondly 

upon  the  children,  and  tenderly  draws  the  little  St. 

John  towards  her  Son. 

"  The  modelling  of  the  Infant  Christ  has  never  been 
surpassed  for  roundness  and  softness,  and  the  articulations 
are  well  pronounced.  The  group  is  arranged  with  a 
symmetry  and  compactness  suited  to  the  circular  form 
of  the  canvas :  the  Madonna  seated  in  the  centre,  the  chil- 
dren playing  around,  with  a  truly  Raphaelesque  land- 
scape beyond,  make  ^.comrjositiDri^as..  musical^. in^its^lines^ 
as  it  is  placid  and  blissful  in  its  sentiment/' — (-M.) 

The  Conestabile  Madonna  belongs  to  Raphael's 
early  period. 

"  This  beautiful  little  picture  is  taken  from  the  same 
design  of  Perugino  which  Raphael  had  already  copied 
in  his  drawing  of  the  Madonna  with  the  Pomegranate. 
But  here  he  has  altered  the  pomegranate  into  a  book,  and 
changed  the  position  of  the  Child,  who  turns  over  the 
pages  in  childish  delight.  He  has  removed  the  nun-like 


ST.    PETERSBURG  187 

veil  from  the  Virgin's  brow  to  show  the  hair  smoothly 
braided  on  each  side  of  her  youthful  face,  and  while  pre- 
serving his  master's  original  design  has  given  a  far 
sweeter  and  more  natural  picture  of  the  Mother  and  Child 
than  any  which  Perugino  painted.  In  the  background, 
we  have  not  only  the  usual  landscape  of  green  slopes  and 
slender  trees,  but  a  lake  with  a  boat  sailing  upon  its 
waters  and  distant  hills  capped  with  the  first  winter's 
snow.  This  little  work  is  charmingly  composed  and 
painted  with  gem-like  finish  and  brightness." — (J.  C.) 

The  Holy  Family  has  been  so  assiduously  "  re- 
stored "  as  to  be  almost  unrecognizable  as  Raph- 
ael's work. 

St.  George  is  painted  with  spirit  and  fire.  The 
patron  saint  of  England  is  represented  galloping 
on  a  white  horse  and  piercing  the  dragon  with  his 
lance.  The  picture  was  commissioned  by  the  Duke 
of  Urbino,  who  had  just  received  the  Order  of  the 
Garter,  as  a  present  to  Henry  VII.  of  England,  and 
the  Garter  is  noticeable  around  the  leg  of  the 
Knight. 

The  Virgin  and  Child  with  Saints  by  Francia, 
the  "  Calcina  altar-piece,"  was  painted  for  Ludo- 
vico  de  Calcina  of  Bologna.  The  Virgin  is 
seated  on  a  highly-decorated  throne,  with  the  Child 
on  her  knee.  On  one  side  stands  St.  Laurence ;  on 
the  other  St.  Jerome ;  and,  at  the  foot  of  the  throne, 
two  of  Francia's  characteristic  child  angels,  whose 
fair  curls  are  confined  by  fillets,  are  seated,  one 
playing  a  lute,  the  other  a  large  tenor  viol,  or  a 
small  bass  one,  having  seven  strings.  Both  instru- 
ments are  elaborately  inlaid  and  beautifully  painted. 
Notice  should  be  taken  of  the  perfect  pose  of  the 
hands.  Two  trees  and  a  landscape  are  seen  in  the 
background. 

The  Madonna  hushing  the  Infant  Jesus  was 


1 88  THE   HERMITAGE 

a  favourite  subject  with  Correggio.  Here  the 
Holy  Child  turns  from  His  mother's  breast,  and 
stretches  out  His  arm  eagerly  for  the  fruit  which  a 
little  angel  is  bringing  to  Him. 

"  La  Madonna  del  Latte,  nowhere  surpassed,  bears  re- 
semblance to  La  Vierge  au  Panier  in  the  National  Gal- 
lery. The  figures  are  liquid  as  gems,  ripe  as  rich  fruit, 
indeed  to  borrow  a  saying  sometimes  applied  to  Murillo, 
the  colours  might  almost  have  been  mixed  with  milk  and 
honey."— (J.  B.  A.) 

In  The  Holy  Family  by  Andrea  del  Sarto,  the 
Virgin  is  also  seated  with  the  Infant  on  her  lap, 
who  turns  smilingly  to  St.  Catherine,  leaning  on 
her  wheel  on  the  right.  On  the  left  are  St.  Eliz- 
abeth and  John  the  Baptist. 

Another  work  by  Andrea  is  a  half-length  figure 
of  St.  Barbara,  dressed  in  a  red  robe,  with  gold 
belt  and  a  pearl  necklace.  She  holds  a  model  of 
the  tower  in  her  hand.  The  background  is  a  green 
drapery. 

Tintoret  appears  here  to  great  advantage. 

"  The  Resurrection  of  the  Saints,  a  mere  sketch  for  the 
tremendous  composition  known  in  Venice  as  //  Paradiso, 
yet  displaying  vast  facility,  extempore  power,  command  of 
colour  and  readiness  in  expressing  intention.  Genius  here 
asserts  itself  incontestibly.  The  Nativity  of  John  the  Bap- 
tist is  in  Tintoret's  most  romantic  and  brilliant  style;  the 
conception  of  beauty  is  high  and  truly  Venetian,  the 
colour  of  the  flesh  and  of  the  drapery  can  only  be  reached 
by  the  school  which  reflected  the  radiant  gold  and  blue  of 
the  Lagoons.  Again,  for  care  and  delicacy  in  the  nude, 
nothing  even  in  the  Ducal  Palace,  Venice,  can  surpass 
The  Deliverance  of  Andromeda." — (J.  B.  A.) 

In  the  latter,  the  figure  of  Andromeda,  in  col- 
our and  beauty  of  form,  is  equal  to  the  finest  work 
of  Titian.  Two  famous  works  by  Sebastian  del 


ST.    PETERSBURG  189 

Piombo  are  Christ  Carrying  His  Cross,  painted 
on  slate;  and  the  Descent  from  the  Cross. 

"  Perhaps  the  work  which  of  all  others  took  me  most 
by  surprise  is  The  Descent  from  the  Cross,  by  Sebastiano 
del  Piombo.  The  forms  are  of  the  grand  school  of 
Midiael  Angelo,  while  the  colour  is  Venetian,  though 
more  than  usually  solemn  in  tone.  The  landscape  back- 
ground, which  rises  more  than  three-fourths  up  the  canvas, 
is  truly  Titianesque :  as  for  the  action  it  reaches  tragic 
grandeur.  Such  a  work  is  almost  more  than  a  picture, 
it  moves  the  soul  as  music  does  the  passions,  it  carries 
imagination  to  the  before  and  after,  and  thus  like  an 
inspired  narrative  shadows  forth  the  infinite." — (J.  B.  A.) 

The  Entombment,  by  Parmigiano,  is  full  of 
colour  and  pathos. 

"  Christ  laid  in  the  Sepulchre,  one  of  the  finest  pictures 
that  Parmegiano  ever  painted,  and  for  which  there  is  a 
tradition  that  he  was  knighted  by  a  Duke  of  Parma. 
There  are  eleven  figures ;  the  Expression,  the  Drawing 
and  Colouring,  the  Perspective  and  Chiaroscuro  are  as 
fine  as  possible.  The  figure  of  Joseph  of  Arimathea  is 
Parmegiano's  own  portrait." — (H.  W.) 

The  works  of  Titian  that  merit  special  notice 
are  Magdalen;  the  Toilet  of  Venus;  Danae;  a 
Head  of  Lavinia,  and  a  Madonna  and  Child, 
painted  when  Titian  was  still  under  the  influence 
of  Giovanni  Bellini. 

Palma  Vecchio's  Holy  Family,  distinguished 
for  the  beauty  of  the  heads;  Paul  Veronese's 
Dead  Christ  supported  by  the  Virgin  and  an 
Angel ;  and  Garofalo's  Adoration  of  the  Shep- 
herds, are  fine  works  of  individuality. 

Schiavone's  Jupiter  and  lo  is  remarkable  for 
its  landscape  background. 

Judith,  by  Moretto  da  Brescia,  long  attributed 
to  Raphael,  is  a  figure  of  remarkable  beauty  and 


190  THE   HERMITAGE 

grace ;  and  Tiepolo's  masterpiece  is  The  Banquet 
of  Cleopatra,  where  the  Queen  of  Egypt,  seated 
opposite  Antony,  is  about  to  drop  the  pearl  into 
her  cup  of  wine. 

Eleven  fine  works  by  Salvator  Rosa  include 
Three  Soldiers  Playing  at  Dice,  marines,  and 
landscapes,  two  masterpieces.  One  of  these  is 
Democrites  and  Protagoras,  in  which  the  figures, 
trees  and  sky  are  of  equal  excellence ;  the  other,  is 
The  Prodigal  Son,  who  is  represented  on  his 
knees  imploring  forgiveness,  in  a  most  impressive 
attitude,  tragic  in  the  extreme. 

"  In  Lord  Orford's  Prodigal  is  represented  the  ex- 
tremity of  misery  and  low  nature ;  not  foul  and  burlesque, 
like  Michael  Angelo  Caravaggio ;  nor  minute,  circum- 
stantial and  laborious  like  the  Dutch  painters.  One  of 
them  would  have  painted  him  eating  broth  with  a  wooden 
spoon,  and  have  employed  three  days  in  finishing  up  the 
bowl  that  held  it.  In  the  story  of  the  old  man  and  his 
sons,  one  sees  drawing  and  a  taste  of  draperies  equal  to 
the  best  collected  from  the  antique.  Salvator  was  a  poet 
and  an  excellent  satirist." — (H.  W.) 

Guido  Reni  was  a  great  favourite  of  Horace 
Walpole,  who  ranked  him  with  Raphael.  Several 
of  his  works  from  Houghton  Hall  found  their  way 
to  The  Hermitage.  Among  these  are  The  Doc- 
tors of  the  Church  Disputing  over  the  Doctrine 
of  the  Immaculate  Conception,  and  The  Adora- 
tion of  the  Shepherds. 

"  In  this  picture  (the  Dispute),  which  is  by  Guido  in 
his  brightest  manner  and  perfectly  preserved,  there  are 
six  old  men  as  large  as  life.  The  expression,  drawing, 
design,  and  colouring  wonderfully  fine.  In  the  clouds  is 
a  beautiful  Virgin  all  in  white,  and  before  her  a  little 
sweet  angel  flying.  After  Sir  Robert  had  bought  this 
picture,  and  it  was  gone  to  Civita  Vecchia  to  be  shipped 


ST.    PETERSBURG  191 

for  England,  Innocent  XIII.,  then  Pope,  remanded  it  back, 
as  being  too  fine  to  be  let  go  out  of  Rome ;  but  on  hear- 
ing who  had  bought  it,  he  gave  permission  for  its  being 
sent  away  again." — (H.  W.) 

"  The  Adoration  of  the  Shepherds,  a  most  perfect  and 
capital  picture  of  Guido,  not  inferior  to  the  Doctors.  The 
beauty  of  the  Virgin,  the  delicacy  of  her  and  the  Child, 
the  awe  of  the  Shepherds,  and  the  chiaroscuro  of  the 
whole  picture,  which  is  in  the  finest  preservation,  are  all 
incomparable.  You  see  the  Shepherds  ready  to  cry  out 
one  to  another  Deus!  Deus  ille!  Menalca! " — (H.  W.) 

David  with  the  Head  of  Goliath,  with  dark 
shadows  in  the  style  of  Caravaggio,  the  Repose  in 
Egypt  and  St.  Francis,  fine  works  by  Guido,  are 
worth  more  than  a  passing  glance ;  also  The 
Seamstresses,  or  Youth  of  the  Virgin,  which  is 
much  admired  for  the  graceful  group. 

The  Rembrandt  Collection  is  unparalleled. 
Biblical  pieces,  portraits,  genre  studies,  and  land- 
scapes show  the  master  at  every  period  of  his  life 
and  in  every  phase  of  his  art. 

The  Holy  Family  is  as  familiar  in  treatment 
as  the  Carpenter's  Household  in  the  Louvre. 

"  The  picture  which  seems  to  me  the  finest  in  quality 
is  a  Holy  Family;  indeed  this  composition,  simple  enough 
in  its  component  parts,  and  consisting  of  nothing  more 
than  a  mother,  an  open  book,  a  cradle  and  an  infant, 
leaves  nothing  to  be  desired,  in  light,  shade,  colour,  or 
texture.  The  spectator  is  here  impressed  not  with  the 
mannerism,  but  with  the  consummate  merit  of  the  mas- 
ter. In  fact,  this  Holy  Family  in  Dutch  costume  is  noth- 
ing more  than  a  humble  group  within  a  cottage :  the 
cherubs  come  tumbling  in  without  ceremony,  like  bats  or 
cockchafers." — (J.  B.  A.) 

Among  other  religious  pictures,  The  Descent 
from  the  Cross  inspires  the  spectator  with  awe, 
for  the  shades  of  night  are  depicted  with  grandeur 


192  THE   HERMITAGE 

and  mystery.  In  Abraham  Entertaining  the 
Angels  the  plumes  of  the  heavenly  visitors  should 
be  noticed  for  their  prismatic  colours.  The  Re- 
turn of  the  Prodigal  Son  is  told  with  pathos, 
and,  though  coarsely  painted,  is  placed  in  a  bold 
landscape. 

"  Heedless  of  the  spectators  around,  the  father  and 
son  give  themselves  up  to  their  emotion,  the  one  full  of 
shame  and  repentant  humility,  the  other  of  rapture  at 
finding  once  more  the  lost  son  he  clasps  to  his  breast." — 
(E.  M.) 

The  Sacrifice  of  Isaac  is  unusually  touching. 

"  Abraham's  head  and  the  naked  body  of  Isaac  are  very 
fine ;  the  painter  has  avoided  much  of  the  horror  of  the 
story  by  making  Abraham  cover  the  boy's  face  to  hide 
the  horror  from  himself." — (H.  W.) 

St.  Peter's  Denial,  with  life-size  figures,  is  a 
marvellous  study  of  light  effects. 

"  The  scene  takes  place  in  the  middle  of  the  night. 
The  darkness  is  relieved  only  by  the  flaming  torch  in  the 
hand  of  a  maid-servant,  the  light  of  which  falls  full  on 
the  figure  of  the  apostle,  wrapped  in  a  loose  woollen  robe 
of  a  yellowish  tint.  He  returns  the  questioning  look  of 
the  maid  with  a  steady  gaze,  emphasising  his  denial  by  an 
expressive  gesture.  A  soldier  sits  on  the  edge  of  a  wall, 
before  the  two  central  figures,  his  helmet  and  part  of  his 
armour  in  his  hand ;  another  soldier  stands  listening  to 
the  altercation;  several  barely  distinguishable  figures  be- 
yond are  illuminated  only  by  the  fitful  gleams  from  a 
fire  burning  in  the  background.  The  concentrated  glow 
of  the  torch  falls  on  the  face  of  St.  Peter,  and  on  the 
red  bodice  of  the  servant,  a  finely  modelled  figure  in  a 
tasteful  costume.  The  broad  execution  brings  out  the 
picturesque  elements  of  the  conception;  and  the  brown 
and  golden  tones  that  predominate  are  happily  relieved 
by  the  vivid  scarlet  of  the  bodice,  the  one  brilliant  touch 
of  colour  in  the  picture." — (E.  M.) 

His  best  landscape,  A  View  on  the  Rhine,  has 


GIRL  WITH  THE  BROOM— Rembrandt 

THE    HERMITAGE 


ST.    PETERSBURG  193 

a  beautiful  sky  of  grey  clouds  that  contrasts  well 
with  the  warm  browns  in  the  boat  and  figures. 

Among  the  twenty-four  portraits,  there  are  four 
of  Rembrandt's  Mother;  and  several  of  Old  Men 
and  aged  Jews. 

"  Rembrandt,  I  think,  is  the  most  literal  transcriber  of 
a  face  when  dilapidated  by  time  which  the  world  has  yet 
seen.  But  an  old  man  or  an  old  woman  by  Rembrandt 
is  something  more  than  a  mechanical  reproduction  of 
wrinkles.  Indeed,  I  do  not  hesitate  to  say  that  the  Head 
of  an  Old  Man  (816)  ranks  with  the  greatest  portrait 
pictures  in  the  world.  Almost  unsurpassed  is  this  face 
for  individuality,  and  for  quiet  dignity,  for  firrf  yet  soft 
and  fleshy  modelling,  and  for  handling  of  brush,  which 
in  its  play  expresses  the  endless  undulation  of  features, 
tossed  about  by  time  and  trial." — (J.  B.  A.) 

Among  other  portraits  is  a  small  head  of  a 
Woman  putting  on  an  earring ;  and  the  Girl  with 
a  Broom. 

"  She  faces  the  spectator,  dressed  in  the  usual  costume 
of  a  Dutch  servant,  a  square-cut  bodice  with  braces  over 
a  white  chemisette  with  full  sleeves.  Her  facial  type  is 
a  vulgar  one,  round  and  full,  with  a  turned-up  nose,  thick 
lips,  a  quantity  of  fair  hair,  and  a  prominent  forehead. 
She  leans  over  a  rough  fence  and  gazes  straight  before 
her  with  widely-opened  eyes.  Beside  her  are  a  pail  and 
basket,  and  in  her  coarse  little  red  hands  she  grasps  a 
broom,  the  emblem  of  her  calling.  This  implement  she 
clasps  to  her  breast  as  if  to  suggest  its  importance  in 
he?  scheme  of  life.  The  master  seems  to  have  been 
moved  to  typify  and  extol  the  housewifely  instincts  of  his 
countrywomen  in  this  bold,  vigorous  and  rapidly  painted 
study."— (E.  M.) 

In  1634,  Rembrandt  painted  the  portrait  of 
Saskia,  known  as  The  Jewish  Bride. 

"  The  title  Flora  would  be  more  appropriate.  Follow- 
ing a  very  general  fashion  of  the  period,  Saskia  is  arrayed 


194  THE   HERMITAGE 

as  a  shepherdess,  and  stands  at  the  mouth  of  a  grotto 
hung  with  creepers.  In  her  right  hand  she  holds  a 
flower-twined  crook;  on  her  head  is  a  heavy  wreath  of 
ranunculus,  anemone,  fritillary  and  iris,  a  columbine,  and 
a  striped  red  and  white  tulip.  The  rosy  face,  turned 
almost  full  to  the  spectator,  is  strongly  illuminated.  The 
luxuriant  hair  enframing  it  falls  in  disorder  upon  the 
shoulders.  An  oriental  scarf  is  crossed  upon  her  breast, 
and  with  her  left  hand  she  draws  round  her  the  folds  of 
a  wide  mantle  of  pale  green,  which  is  thrown  over  her 
white  brocaded  gown.  Her  attitude,  the  slightly  bent 
figure,  and  the  massing  of  the  folds  about  the  waist,  give 
her  a  somewhat  matronly  air.  Innocent  and  engaging  in 
her  brilliant  draperies  and  gaily  tinted  flowers,  she  stands, 
a  graceful  apparition,  the  light  falling  full  upon  her. 
Spring  itself  seems  to  be  singing  a  paean  of  love  and 
poetry  from  the  master's  palette,  at  the  dawn  of  that  year 
which  was  to  bring  about  the  propitious  union." — (E.  M.) 

The  so-called  Portrait  of  Sobieski  (1637)  is 
a  familiar  picture,  but  this  identification  is  pure 
conjecture.  Rembrandt  himself  was  fond  of 
military  trappings. 

"  A  closer  examination  convinces  us  that  we  have  seen 
Rembrandt  himself  wearing  the  heavy  gold  chain,  the 
pearl  earrings  and  the  ornament  in  the  cap,  and  we  are 
led  to  conclude  with  M.  Mantz  that  Rembrandt  himself 
was  the  original  of  the  '  fancy  Muscovite.'  Admitting  a 
certain  puerility  in  the  disguise,  we  may  justly  call  atten- 
tion to  the  breadth  of  treatment  in  this  powerful  por- 
trait, and  to  the  vigour  of  chiaroscuro  and  richness  of 
colour  so  admirably  suggestive  of  the  character  and  ex- 
pression depicted." — (E.  M.) 

In  no  gallery  can  Paul  Potter  be  studied  to 
such  advantage.  Nine  fine  works  hang  here,  of 
which  The  Farmyard  is  considered  his  master- 
piece. This  picture  is  remarkable  for  the  beauti- 
ful landscape,  the  brilliant  sunlight  and  the  variety 
of  life  represented.  Here  we  see  seven  cows,  ten 


ST.    PETERSBURG  195 

sheep,  two  goats,  three  horses  and  an  ass,  standing 
and  lying  down  in  a  meadow  beneath  the  trees  and 
near  a  farm-house  on  the  right.  The  human 
figures  are  equally  numerous.  The  picture  is  also 
known  as  La  Vache  qui  Pisse. 

"  Notwithstanding  this  accumulation  of  animals  and 
people  the  groups  are  so  well  arranged,  the  details  so 
accurately  rendered,  and  the  light  and  air  circulate  so 
freely  that  the  picture  does  not  seem  encumbered.  The 
impression  is  that  of  an  animated  rural  scene,  full  of 
life  and  movement.  It  is  true  that  you  notice  here  and 
there  animals,  persons,  trees  and  plants  previously 
utilized  by  the  artist  in  former  works,  but  these  borrow- 
ings are  so  happily  associated,  the  proportions  so  ac- 
curately observed,  the  key  is  so  light  and  the  execution  so 
supple  and  skilful,  that  you  can  look  at  this  masterpiece 
for  a  long  time  and  constantly  discover  new  subjects  for 
admiration." — (E.  M.) 

The  Watch  Dog,  though  not  so  celebrated  as 
the  Bull  at  The  Hague,  ranks  with  it  as  an  ani- 
mal portrait.  A  great  dog  is  standing  outside  of 
the  kennel  to  which  he  is  chained,  looking  across  a 
typical  Dutch  landscape.  His  shaggy  coat  is  mar- 
vellously depicted,  and  his  bright  eye  has  the  lustre 
and  gaze  of  life  itself. 

A  curious  work  is  The  Hunter's  Life,  also 
called  The  Animals  Sitting  in  Judgment  on  the 
Sportsman. 

"  It  consists  of  two  large  divisions,  one  of  which  may 
be  drawn  over  the  other:  these  are  surrounded  by  twelve 
smaller  pictures  of  framework.  The  top  corners  repre- 
sent the  transformation  of  Actaeon  (the  nude  figures  by 
Poelemburg,  as  Potter  felt  he  could  not  do  justice  to 
them)  and  St.  Hubert  paying  homage  to  the  stag  with 
the  crucifix  between  his  antlers.  The  other  ten  small 
divisions  represent  hunting  the  wild  boar,  lion,  buffalo, 
monkey,  bear,  chamois,  wolf,  leopard,  hare,  and  rabbit. 
For  thejr  wrongs  the  animals  have  vowed  vengeance. 


196  THE   HERMITAGE 

The  upper  large  picture  represents  the  dreadful  judgment 
passed  upon  the  hunter  by  the  animals  sitting  in  coun- 
cil. The  types  are  rendered  with  rare  truth  and  humour. 
The  sportsman,  in  irons  with  his  dogs  chained  in  couples 
behind  him,  is  led  into  the  judgment  hall.  The  lower 
large  picture  represents  the  carrying-out  of  the  sentence 
— the  sportsman  is  roasted  on  a  spit,  the  dogs  are  hanged. 
This  scene  is  replete  with  drollery  and  whimsical  detail." 
-(A.  G.) 

Perhaps  the  most  celebrated  of  Rubens's  works 
in  this  gallery  is  Christ  in  the  House  of  Simon 
the  Pharisee. 

"  The  arrangement  of  the  composition,  the  servants  in 
the  middle  distance  and  the  portico  in  the  background 
recall,  on  a  smaller  scale,  the  banquets  of  Veronese.  The 
picture  is  one  of  great  beauty :  the  gentleness  of  Christ 
and  the  devotion  of  the  Magdalen  are  contrasted  with  the 
hatred  of  the  Pharisees ;  and  the  varied  attitudes  of  the 
personages  give  the  work  a  highly  dramatic  character. 
The  work  was  done  by  pupils  after  a  sketch  by  the  mas- 
ter and  was  finished  by  him ;  but  the  Magdalen,  the  head 
of  Christ  and  those  of  the  other  guests  are  all  by  Rubens." 
—  (M.  R.) 

The  Expulsion  of  Hagar,  which  Waagen  calls 
a  jewel,  is  a  companion  to  the  Departure  of  Lot 
from  Sodom,  in  the  Louvre.  The  work  is  by 
Rubens  solely.  The  old  couple  are  at  the  open 
door.  Sarah  wears  a  gooseberry-coloured  dress 
with  blue  sleeves,  a  white  neckerchief  and  a  yellow 
veil  around  her  head.  One  of  her  hands  rests  on 
her  hip,  and  the  other  is  raised  with  a  menacing 
gesture  towards  Hagar.  Abraham  remains  within 
the  house,  showing  his  head  in  the  doorway ;  but  a 
dog  has  come  out  and  is  barking  at  the  unhappy 
fugitive.  The  latter,  in  a  red  dress  and  carrying 
a  bundle,  wends  her  way  to  the  desert. 


ST.    PETERSBURG  197 

In  The  River  God  Tiber  (or  Tigris)  with  the 
Goddess  of  Plenty,  the  figure  of  the  Goddess 
is  of  particular  beauty.  Very  fine,  too,  are  the 
figures  of  Perseus  and  Andromeda,  the  armour  of 
the  hero  contrasting  with  Andromeda's  warm 
flesh: 

"  Against  the  dark  background  of  a  precipice  the  hero 
is  seen  advancing.  Upon  his  waving  locks  Victory  places 
a  crown  of  bay,  whilst  around  the  figures  of  the  rescued 
maiden,  Victory,  the  winged  horse,  and  the  fearful  Gor- 
gon's head  hover  a  number  of  laughing  Cupids.  In  the 
foreground,  we  may  observe  a  portion  of  the  dead  mon- 
ster, represented  somewhat  indistinctly,  in  order  not  to 
interfere  with  the  joyous  impression  of  the  rest  of  the 
composition." — (H.  K.) 

Among  the  fifteen  portraits  by  Rubens,  there  is 
a  famous  one  of  his  first  wife,  Isabella  Brandt, 
who  is  seated  in  an  arm-chair  of  scarlet  velvet. 
She  wears  a  dress  of  red  and  gold  brocade,  bodice 
and  sleeves  of  the  same,  ornamented  with  collar, 
chemisette  and  cuffs  of  lace.  Around  her  neck  are 
a  pearl  necklace,  and  a  gold  chain ;  and  a  black 
cloak  which  she  has  thrown  over  all  is  held  by 
another  gold  chain.  In  one  hand  she  holds  a  pea- 
cock-feather fan,  and  in  the  other  a  white  rose. 
On  the  right  is  the  door  of  Rubens's  house;  and 
through  the  arches  of  the  court  the  garden  is  vis- 
ible. In  the  left  background  there  is  a  balustrade 
on  which  stands  a  statue.  A  cloudy  sky  is  seen 
beyond  a  red  curtain. 

It  is  interesting  to  compare  this  with  the  beauti- 
ful Helena  Fourment,  one  of  the  most  famous 
of  the  many  Rubens  painted  of  his  second  wife. 
She  appears  full  length,  dressed  in  black  silk,  cut 
low  and  square  in  the  neck.  Her  sleeves  are 


198  THE   HERMITAGE 

white,  ornamented  with  lace  cuffs  and  mauve  rib- 
bons, and  her  large  black  hat  is  adorned  with 
feathers  and  a  purple  ribbon.  A  filmy  ruff  edged 
with  lace  lies  flat  over  her  shoulders,  and  in  one 
of  her  hands  she  carries  a  fan  of  ostrich  plumes. 
She  wears  earrings ;  and  around  her  neck  a  chain 
that  belonged  to  Isabella  Brandt. 

Violets  bloom  at  her  feet;  and  a  cloudy  sky  af- 
fords the  background.  The  hands  and  sleeves  are 
painted  in  the  most  exquisite  manner. 

The  visitor  must  also  notice  a  portrait  of  another 
nature,  a  Lioness  Between  Two  Lions,  painted 
from  animals  in  the  Zoological  Gardens  of  Ant- 
werp. 

"  Nothing  can  be  livelier,  or  in  greater  style,  than  the 
attitude  of  the  Lioness."— (H.  W.) 

The  famous  Rainbow,  incomparably  more  beau- 
tiful than  the  Rainbow  in  the  Louvre,  is  entirely 
the  work  of  Rubens. 

"  The  ground  is  very  uneven.  In  the  background,  on 
the  right,  are  mountains,  and  a  river  that  flows  towards 
the  foreground,  passing  under  a  stone  bridge  near  which 
are  a  cluster  of  houses,  and  also  beneath  a  wooden  bridge 
nearer  the  foreground.  On  the  left,  a  group  of  trees,  be- 
neath the  largest  of  which  a  shepherd  is  seated  playing 
a  pipe.  Behind  him  are  a  man  and  a  woman,  the  man 
crowned  with  leaves ;  and  in  the  distance  a  flock  of  sheep 
and  another  shepherd.  In  the  middle  foreground  two 
lovers  are  seated,  the  shepherd  with  his  arm  resting  on  an 
overturned  vase,  and  the  shepherdess  with  her  arm  lean- 
ing on  her  lover's  knee.  Near  them  stands  a  dog.  On 
the  left  are  two  sheep.  Between  the  mountains  and  the 
trees  a  rainbow  throws  its  luminous  arch,  and  there  is 
the  most  wonderful  contrast  between  the  light  back- 
ground and  the  sombre  foreground ;  the  figures  near  the 
spectator  compared  with  those  in  the  background  appear 
gigantic.  The  picture  is  of  the  greatest  value  owing  to 


ST.   PETERSBURG  199 

its    rich   colour   and    its    gentle   and    delicate    lighting." — 
(M.  R.) 

Another  famous  landscape  is  Le  Voiturier. 

"  Rubens,  rejoicing  in  endless  resource,  was  ready  to 
challenge  difficulties  from  which  painters  of  less  power 
are  wont  to  retreat.  Bold  effects  of  atmospheric  light 
and  colour  are  to  the  artist's  liking;  thus,  in  a  striking 
composition,  Le  Voiturier,  on  the  borders  of  a  river  sur- 
rounded by  rocks  and  trees,  Rubens  contrasts  with  telling 
effect  the  conflict  of  light  between  the  setting  sun  and 
the  rising  moon.  The  trees  are  drawn  with  a  care  worthy 
of  Wynants,  the  elements  assume  a  dramatic  action  and  a 
phantasm  of  colour  rarely  equalled  by  de  Loutherbourg 
or  by  Turner." — (J.  B.  A.) 

Among  the  thirty-seven  pictures  by  Van  Dyck 
is  the  famous  Virgin  of  the  Partridges. 

"  In  La  Vierge  aux  Perdrix,  with  landscape  and  clouds, 
including  the  accessories  of  partridges,  fruits,  trees  and 
sunflowers,  there  is  a  care  and  a  minuteness  to  which  we 
are  wholly  unaccustomed,  at  least  after  the  time  when 
Van  Dyck  fell  into  the  profitable  trade  of  generalising  and 
beautifying  his  fashionable  sitters." — (J.  B.  A.) 

Horace  Walpole  considered  it  "too  much 
crowded  with  fruits,  flowers  and  birds,"  but  ad- 
mired the  two  finely  painted  partridges  in  the  air. 
He  called  it,  however,  a  most  celebrated  picture. 

"  The  chief  part  of  it  is  a  dance  of  boy-angels,  which 
are  painted  in  the  highest  manner.  The  Virgin  seems  to 
have  been  a  portrait,  and  is  not  handsome." — (H.  W.) 

Of  Van  Dyck's  portraits,  the  most  famous  are 
Lord  P.  Wharton  and  Snyders  and  Family. 

The  visitor  should  not  neglect  a  room  devoted 
to  pictures  of  fruit,  flowers  and  game,  chiefly  by 
Dutch  and  Flemish  masters.  Among  these  are 


200  THE   HERMITAGE 

four  large  Markets  by  Snyders:  one  is  a  Fowl 
Market,  another  a  Fish,  a  third  a  Fruit,  and  a 
fourth  an  Herb.  These  came  from  the  Walpole 
Gallery,  as  did  also  A  Concert  of  Birds,  by 
Snyders. 

One  of  Teniers's  elaborate  Kitchen  scenes 
represents  numerous  cooks,  fishermen,  provisions 
and  utensils,  and  the  artist  himself,  in  a  grey 
doublet  and  fur  cap,  holding  a  falcon  on  his  wrist 
and  having  his  dogs  beside  him.  Very  humorous 
and  clever  is  his  Kitchen  Invaded  by  Monkeys. 
The  Schiitzenfest  is  another  fine  work. 

A  striking  picture  by  B.  van  der  Heist  is  The 
Presentation  of  the  Bride;  and  Gerard  Dow's 
Alchymist  is  one  of  his  best  works. 

Of  Wouvermans  the  best  are:  Riding-School, 
"  Katzenvith  "  and  In  the  Dunes.  Ter  Borch's 
Glass  of  Lemonade  should  be  studied. 

Quaint  and  decorative  is  the  Adoration  of  the 
Magi,  by  Velvet  Brueghel. 

"  There  are  a  multitude  of  little  figures  all  finished 
with  the  greatest  Dutch  exactness ;  the  ideas  too  are  a 
little  Dutch,  for  the  Ethiopian  King  is  dressed  in  a  sur- 
plice with  boots  and  spurs,  and  brings  for  a  present  a 
gold  model  of  a  modern  ship." — (H.  W.) 

John  Van  Eyck's  Annunciation  worthily  repre- 
sents the  great  Flemish  Primitive. 

"  The  scene  is  laid  in  a  marble  hall  with  a  mosaic  floor; 
the  archangel  Gabriel  appears  richly  clad;  the  jewelled 
drapery  as  a  piece  of  painting  has  scarcely  been  equalled 
and  never  surpassed." — (J.  B.  A.) 

The  Coronation  of  the  Virgin,  by  Quentin 
Massys,  is  remarkable  for  the  strong  heads,  beau- 
tiful draperies  and  resplendent  jewels. 


ST.   PETERSBURG  201 

Of  Jan  Massys  are  two  variants  of  the  famous 
Misers.  This  was,  however,  attributed  to  the 
elder  Massys  by  Horace  Walpole. 

"  An  Usurer  and  his  wife  by  Quentin  Massys,  the 
Blacksmith  of  Antwerp.  This  picture  is  finished  with 
the  greatest  labour  and  exactness  imaginable,  and  was 
painted  for  a  family  in  France ;  it  differs  very  little  from 
one  at  Windsor,  which  he  did  for  Charles  the  First." — 
(H.  W.) 

The  Hermitage  contains  the  best  and  most  varied 
collection  of  Spanish  pictures  out  of  Spain,  in- 
cluding no  less  than  twenty  by  Murillo  and  six  by 
Velasquez.  There  are  also  works  by  Zurbaran, 
the  rare  Alonso  Cano,  Ribera,  Ribalta  and  others, 
representing  therefore  the  four  schools  of  Toledo, 
Seville,  Valencia  and  Madrid. 

Beginning  with  Murillo,  first  must  be  noticed 
The  Flight  into  Egypt.  The  Virgin  seated  on 
an  ass,  with  the  Child  reclining  in  her  arms,  looks 
upon  Him  tenderly.  St.  Joseph  walks  beside  her, 
staff  in  hand,  and  having  a  wallet  on  his  shoulders. 
Three  cherubs  hover  above  in  the  clouds. 

This  should  be  compared  with  a  Repose  in 
Egypt-  Here  the  Virgin  is  seated  under  a  tree 
watching  the  child,  who  is  asleep  on  a  rock.  On 
the  right,  St.  Joseph  holds  the  ass  by  the  bridle. 
Two  cherubs  stand  beside  the  Virgin. 

St.  Anthony  of  Padua  and  the  Infant  Jesus 
shows  the  saint  kneeling  in  a  hilly  landscape. 
The  Infant  appears  as  if  walking  on  an  open  book 
that  lies  on  a  rock.  Above  are  five  cherubs,  one 
of  whom  holds  a  bunch  of  lilies. 

A  fine  Immaculate  Conception  represents  the 
Virgin  standing  on  the  crescent  moon,  her  mantle 
gathered  over  her  left  arm.  She  is  surrounded  by 


202  THE   HERMITAGE 

many  cherubs,  bearing  the  rose,  palm,  olive  and 
lilies. 

The  Assumption  of  the  Virgin,  a  beautiful 
picture,  resembles  that  in  the  Prado,  noticeable  for 
its  suggestion  of  great  depths  of  cloud,  where  the 
Virgin  seems  floating  with  a  group  of  beautiful 
cherubs. 

The  Adoration  of  the  Shepherds  is  a  work  of 
the  master's  early  style.  The  Child  lies  naked  on 
a  crib,  the  Virgin  at  His  feet  holding  up  His 
covering  of  linen.  St.  Joseph  stands  behind  her 
and  in  the  foreground  kneels  a  shepherd  whose 
hand  nearly  touches  a  lamb.  Behind  an  old 
woman  on  the  right  are  two  other  shepherds ;  and 
above  the  Child's  head,  the  heads  of  an  ox  and 
an  ass  are  seen. 

A  Crucifixion  is  conventional  in  treatment,  but 
sympathetic  in  feeling  and  beautiful  in  tone. 

Jacob's  Dream  and  Isaac  Blessing  Jacob  are 
companion  pictures.  In  the  former,  Jacob,  in  red 
doublet  and  yellow  mantle,  is  sleeping  in  the  fore- 
ground with  his  head  on  a  stone,  his  staff  by  his 
side.  At  his  feet,  on  the  left,  stands  a  graceful 
angel  with  outstretched  wings,  pointing  to  the  lad- 
der, on  which  two  angels  are  ascending  and  three 
descending. 

The  second  picture  is  in  two  parts :  on  the  right 
is  a  rustic  house  through  the  open  archway  of 
which  Isaac  is  sitting  up  in  bed  blessing  Jacob, 
who  kneels  before  him,  his  mother's  arm  around 
him.  Beside  the  bed  is  a  table  with  a  dish  of 
game,  a  spoon  and  bread.  On  the  left,  outside  of 
the  house,  a  woman  is  seen  with  a  jar  under  a 
beautifully  painted  tree;  and  in  the  landscape  in 
the  distance,  Esau  is  approaching  with  a  dog. 


ST.   PETERSBURG  203 

A  Peasant  Boy,  dressed  in  red  and  holding  a 
white  dog  by  the  ear  as  he  Jiunts  for  vermin ;  an- 
other Peasant  Boy  standing  before  a  wall  with  a 
basket  and  turning  his  head  to  observe  a  dog;  with 
its  companion  a  Peasant  Girl  standing  by  a  wall 
with  a  basket  in  her  hand  and  half  holding  to  her 
face  the  end  of  a  scarf  which  covers  her  head,  are 
characteristic  examples  of  Murillo's  types  of  com- 
mon life,  which,  strangely,  are  more  appreciated  by 
foreigners  than  by  Spaniards. 

Attributed  to  both  Murillo  and  Velasquez  is 
Celestine  and  her  Daughter  in  Prison,  two  women 
looking  out  of  a  grated  window  the  bars  of  which 
the  daughter  clasps  with  both  hands.  The  two 
women  are  said  to  have  been  celebrated  intrig- 
uantes. 

Of  the  works  of  Velasquez,  the  most  speaking  is 
the  Portrait  of  Pope  Innocent  X.,  wearing  a  red 
cap,  cape  and  a  rolling  linen  collar. 

Zurbaran's  finest  works  are  Prayer  of  the  Ma- 
donna and  St.  Lawrence.  In  the  former 

"  the  figure  is  as  charming  for  its  simplicity  as  for  its 
truth,  and  the  handling  is  strong  as  it  is  tender.  The 
Madonna  is  represented  as  a  young  girl,  clad  in  red  and 
blue,  seated  on  a  chair;  she  has  for  a  moment  left  the 
needlework  on  which  she  was  engaged,  and  clasps  her 
hands  in  prayer.  St.  Lawrence,  robed  in  richest  sacerdotal 
habits,  has  his  eyes  cast  towards  heaven  in  contemplation 
of  his  martyrdom." — (J.  B.  A.) 

The  Hermitage  is  second  only  to  the  Louvre  in 
French  pictures.  Nearly  every  French  painter  of 
importance  is  represented,  and  many  of  them  by 
masterpieces.  There  are  no  less  than  twenty-two 
pictures  by  Nicholas  Poussin.  One  of  these,  The 
Triumph  of  Neptune  and  Amphitrite,  remark- 


204  THE   HERMITAGE 

able  for  its  fine  drawing  and  beautiful  female 
figures,  is  ranked  among  this  painter's  best  works. 
Two  classical  landscapes,  one  representing  Her- 
cules and  Cacus,  the  other  Polyphemus,  are 
noticeable  for  the  silvery  moonlit  clouds  of  the  one 
and  the  twilight  effects  of  the  other.  The  Holy 
Family  and  Moses  Striking  the  Rock  were  pic- 
tures in  his  father's  collection  that  Horace  Walpole 
particularly  admired. 

"  The  Holy  Family,  large  as  life,  by  Nicolo  Poussin. 
It  is  one  of  the  most  capital  pictures  in  this  collection,  the 
airs  of  the  heads  and  the  draperies  are  in  the  fine  taste 
of  Raphael  and  the  antique ;  Elizabeth's  head  is  taken 
from  the  statue  of  an  old  woman  in  the  Villa  Borghese 
at  Rome.  The  colouring  is  much  higher  than  his  usual 
manner.  The  Virgin's  head  and  the  young  Jesus  are 
particularly  delicate." — (H.  W.) 

Of  Moses  Striking  the  Rock  he  writes : 

"  There  is  a  great  fault  in  it ;  Moses  is  by  no  means  the 
principal  figure,  nor  is  he  striking  the  rock  angrily,  and 
with  a  great  air,  but  seems  rather  scraping  out  the  water. 
The  thirst  in  all  the  figures,  the  piety  in  the  young  man 
lifting  his  father  to  the  stream,  and  the  devotion  in  others, 
are  extremely  fine." — (H.  W.) 

Eleven  fine  Landscapes  by  Claude  Lorrain 
show  this  painter  in  every  mood. 

Among  the  other  French  works  there  is  a  por- 
trait of  Mary  Queen  of  Scots,  by  a  pupil  of  Clouet, 
said  to  have  been  painted  at  Fotheringay;  a 
Group  of  Children  gathered  around  a  cask,  which 
they  are  using  as  a  table,  by  Fragonard ;  and  The 
Death  of  the  Paralytic,  by  Greuze. 

In  the  English  gallery,  the  following  are  note- 
worthy: a  Landscape  in  which  Dido  and  y£neas 
figure,  by  Thomas  Jones ;  a  portrait  by  Sir  Godfrey 


Kg 


ANGEL  MUSICIANS— H.  and. I.  tan  Eyck 

BERLIN 


ST.    PETERSBURG  205 

Kneller  of  Grinling  Gibbons ;  one  by  Robert 
Walker  of  Oliver  Cromwell,  and  three  by  Sir 
Joshua  Reynolds.  His  Infant  Hercules  Stran- 
gling the  Serpents  was  painted  by  order  of  the 
Empress  Catherine,  who  left  the  subject  and  the 
price  to  the  painter.  Fifteen  hundred  guineas  were 
paid  for  it;  and  the  Empress  sent  Sir  Joshua  a 
gold  snuff-box  with  her  portrait  encircled  with 
diamonds. 

"  Reynolds  took  for  his  subject  a  passage  from  Theoc- 
ritus where  the  Infant  Hercules  grasps  and  throttles  the 
snakes  by  which  he  was  attacked  by  the  orders  of  Juno. 
The  idea  was  a  compliment  to  the  Russian  nation,  whose 
growing  power  was  typified  by  the  vigorous  child.  He 
places  the  child  in  a  massive  cradle,  furnished  with  wolf- 
skins for  bedclothes.  Iphicles  crouches  in  fear  at  his  side; 
Alcmena  runs  in  with  a  crowd  of  attendants  on  one  side 
of  the  composition ;  on  the  other,  Amphitryon,  with  a 
naked  sword,  and  accompanied  by  servants  with  torches, 
stands  aghast  at  the  prowess  of  the  child,  who  throttles 
the  serpents  in  a  very  convincing  fashion.  The  baffled 
Juno  looks  down  from  a  cloud,  and  the  blind  Tiresias, 
painted  from  the  '  Blinking  Sam  '  portrait  of  Johnson  at 
Streatham,  concludes  the  composition.  Hodges,  the  land- 
scape painter,  described  the  picture  as  looking  '  as  if  it 
had  been  boiled  in  brandy.'  Reynolds  undoubtedly  took 
great  pains  with  the  picture.  It  was  of  this  work  he  re- 
marked that  there  were  half  a  dozen  other  pictures,  all 
better,  underneath  it."— (W.  B.  B.) 

Dr.  Waagen  says  that  The  Hercules  need  not 
fear  comparison  with  the  magnificent  pictures  by 
Rembrandt.  The  Empress  also  purchased  a  large 
picture,  The  Continence  of  Scipio,  which  is  un- 
finished, but  valuable  as  showing  how  Sir  Joshua 
laid  on  his  shadows  in  a  green  tone  preparatory  to 
the  warm  glazing  with  which  he  so  successfully 
imitated  the  glowing  tones  of  the  Venetian  School, 


206  THE   HERMITAGE 

The  third  picture,  Cupid  Unloosing  the  Girdle 
of  Venus,  also  known  as  The  Snake  in  the  Grass, 
is  "  the  portrait  of  a  pretty  Englishwoman  whose 
obliquity  of  vision  is  artfully  concealed  by  the 
position  of  her  hand." 

If  the  visitor  has  time,  he  may  care  to  look  at  a 
few  of  the  most  celebrated  examples  of  the  Russian 
School,  founded  in  1759  by  Lossenko,  whose 
Sunrise  on  the  Black  Sea  is  a  characteristic  work. 
By  his  pupil,  Ugriumoff,  are  two  historical  works : 
The  Capture  of  Kazan  in  1552,  showing  the 
Czar  of  Kazan  kneeling  to  Ivan  the  Terrible,  and 
The  Election  of  Michael  Romanoff  to  the  Russian 
Throne,  represented  with  Oriental  splendour. 

Bruni's  enormous  Brazen  Serpent  is  academic 
in  treatment ;  and  many  critics  prefer  his  Christ 
in  the  Garden  of  Gethsemane. 

The  Kermesse  at  Amsterdam,  by  Bogoliubof, 
is  a  remarkable  presentment  of  the  effects  of  varie- 
gated lamps  and  moonlight. 

The  most  important  work  of  the  Russian  School, 
however,  is  the  Last  Days  of  Pompeii,  by  Briilow, 
no  less  than  twenty-five  feet  long,  with  thirty 
groups  of  intensely  dramatic  figures.  Finally, 
Ayvasowsky's  extraordinary  extravaganzas,  The 
Deluge  and  The  Creation  of  the  World,  call 
attention  to  one  of  Russia's  most  famous  and  suc- 
cessful painters. 


THE  BERLIN  GALLERY 
BERLIN 

THE  Berlin  Gallery  is  housed  in  the  Emperor 
Frederick  Museum  (established  in  1829)  and  re- 
sembles in  its  completeness  and  arrangement  the 
National  Gallery  of  London.  It  is  rich  in  works 
of  early  Italian  and  Flemish  masters ;  contains 
several  gems  of  the  early  German  school,  and  beau- 
tiful works  of  the  best  period  of  Italian  art  in  the 
Sixteenth  Century.  Among  individual  artists, 
John  Van  Eyck,  Lucas  Cranach  the  Elder,  Frans 
Hals,  Jacob  Van  Ruysdael,  Botticelli,  Signorelli 
and  Caravaggio  are  particularly  well  represented. 

The  nucleus  of  the  Berlin  Gallery  is  the  collection 
of  Mr.  Solly,  an  Englishman,  purchased  in  1821, 
to  which  were  added  selections  from  the  royal 
galleries  of  Berlin  and  Potsdam,  the  Giustiniani 
Collection  (chiefly  Italian  masters  of  the  Seven- 
teenth Century)  and  the  Suermondt  Collection 
(chiefly  Dutch  works.) 

If  for  no  other  reason,  art-lovers  would  visit  the 
Berlin  Gallery  in  order  to  study  the  six  panels  of 
Van  Eyck's  Adoration  of  the  Lamb,  trickily  ob- 
tained by  a  dealer  from  the  Canons  of  St.  Bavon, 
Ghent. 

Four  of  these  depict  pilgrims  led  by  saints 
wending  their  way  to  the  Mystic  Lamb.  The 
landscapes  through  which  the  processions  wind 
are  exquisitely  treated  and  all  the  varied  costumes 
of  Emperors,  Kings  and  Anchorites  with  their 
207 


208  THE   BERLIN   GALLERY 

banners  are  highly  finished.  In  one  of  the 
pictures  Hubert  Van  Eyck  appears,  a  mild, 
benevolent  old  man  in  blue  velvet  trimmed  with 
fur,  riding  a  splendidly  caparisoned  white  horse ; 
and  farther  back  is  John,  dressed  in  black  with 
his  shrewd,  sharp  countenance  looking  at  the 
spectator.  The  other  two  panels  belonged  to 
the  upper  portion  of  the  altar-piece.  Heavenly 
music  is  the  theme  of  each. 

"  On  one  panel  stand  eight  angels  singing  before  a 
music-desk.  They  are  represented  as  choristers  in 
splendid  vestments  and  crowns.  The  brilliancy  of  the 
stuffs  and  precious  stones  is  given  with  the  hand  of  a 
master,  the  music-desk  is  richly  ornamented  with  Gothic 
carved  work  and  figures,  and  the  countenances  are  full  of 
expression  and  life.  On  the  opposite  wing,  St.  Cecilia  sits 
at  an  organ,  the  keys  of  which  she  touches  with  an  ex- 
pression of  deep  meditation :  other  angels  stand  behind 
the  organ  with  different  stringed  instruments.  The  ex- 
pression of  these  heads  shows  far  more  feeling,  and  is 
more  gentle;  the  execution  of  the  stuffs  and  accessories 
is  equally  masterly." — (C.  and  C.) 

John  Van  Eyck's  Man  with  the  Pinks  is  one 
of  the  most  famous  portraits  in  the  world. 

"  It  represents  an  elderly  individual  of  by  no  means 
prepossessing  appearance.  His  face  is  deeply  wrinkled, 
his  eyes  have  a  puffy  line  of  flesh  beneath  them,  his  mouth 
droops  at  the  corners  and  is  of  a  hard,  somewhat  coarse 
type,  while  his  ears  are  specially  hideous,  being  large  and 
prominent :  altogether  he  has  a  very  unpleasant  cast  of 
countenance.  But  John  Van  Eyck  has  been  faithful  to  his 
love  of  veracity — not  a  feature  is  softened  down — he  has 
portrayed  the  man  as  he  was  in  the  most  lifelike  manner 
conceivable.  He  wears  a  dark  grey  coat  with  fur  collar 
and  cuffs,  which  is  sufficiently  low  in  the  neck  to  allow  the 
brocaded  tunic  beneath  to  appear,  and  a  large  broad- 
brimmed  beaver  hat.  Around  his  neck  is  a  silver  chain 
from  which  hangs  a  tau  cross  with  the  bell  of  Saint  An- 


BERLIN  209 

thony  attached  thereto.  In  his  right  hand,  on  the  third 
finger  of  which  he  carries  a  fine  ring,  he  holds  three  wild 
pinks."— (F.  C.  W.) 

Another  remarkable  portrait  is  that  of  Giovanni 
Arnolfini,  painted  about  two  years  before  the  more 
celebrated  one  in  which  he  appears  with  his  wife 
(see  page  21.)  Van  Eyck  has  not  flattered  him; 
his  ugly  features,  his  long  nose  and  blue  eyes,  half 
opened  under  their  thin  lids,  give  him  the  cunning 
look  of  a  crafty  merchant. 

"  The  skin,  clear  and  transparent,  even  in  the  deepest 
shadows,  stands  out  boldly  from  beneath  the  glowing  red 
of  the  turban,  which  with  the  deep  olive  green  of  the  wall 
that  forms  the  background  makes  a  wonderful  harmony." 
— (H.  von  T.) 

The  Virgin  and  Child,  attributed  to  Van  Eyck, 
is  said  to  be  the  original  of  the  Antwerp  picture, 
given  to  Memling  (see  page  112).  A  Crucifixion 
with  minutely  treated  landscape  background  is  also 
attributed  to  Van  Eyck. 

Roger  van  der  Weyden's  Nativity  was  painted 
to  order.  Philip  the  Good  appears  as  Augustus. 

"  In  the  centre  is  the  Nativity  with  the  kneeling  donor 
and  angels  of  great  beauty,  some  of  whom  kneel  close  to 
the  Infant,  while  others  hover  over  the  roof  of  the 
stable.  On  the  one  side  is  the  Annunciation  to  the  Ruler 
of  the  West — the  Emperor  Augustus — by  means  of  the 
Tiburtine  Sibyl ;  on  the  other,  the  Annunciation  to  the 
Rulers  of  the  East — the  Three  Kings  who  are  keeping 
watch  on  a  mountain  where  the  Child  appears  to  them 
in  a  star.  The  arrangement  of  this  portion  is  peculiarly 
grand  and  the  heads  highly  characteristic.  This  is  one 
of  the  most  remarkable  and  best  preserved  examples  of 
Roger  van  der  Weyden." — (C.) 

Among  the  gems  of  early  Flemish  works  is  Hugo 
Van  der  Goes's  Nativity.  Two  Prophets  are 


210  THE   BERLIN   GALLERY 

drawing  back  a  green  curtain  so  that  we  may  see 
the  Virgin,  Joseph  and  the  host  of  angels  adoring 
the  Christ  Child  in  the  manger.  On  the  left  are 
the  shepherds;  and  on  the  right,  a  view  of  the 
landscape  where  the  shepherds  are  hearing  the  joy- 
ful news. 

The  Crucifixion,  by  the  Maitre  de  Flemalle, 
is  noteworthy  for  its  landscape  and  sky  on  a  gold 
background. 

Elijah  in  the  Desert,  wakened  by  the  angel, 
and  the  Feast  of  the  Passover  were  two  wings 
of  Thierry  Bouts's  Last  Supper  in  St.  Peter's, 
Louvain. 

"The  landscapes  contribute  greatly  to  diminish  the  first 
unfavourable  impressions,  and  there  is  much  agreeable 
brilliance  in  the  full  juicy  tones." — (C.  and  C.) 

The  Madonna  and  Child,  by  Quentin  Massys, 
belongs  to  his  middle  period. 

"  It  is  characterized  by  a  pure  childlike  sentiment,  a 
warm  though  bright  tone  and  excellent  draughtsmanship." 
-(O.  E.) 

Lucas  van  Leyden's  Madonna  and  Child  is 
seated  before  a  curtain.  Angels  are  playing  instru- 
ments and  one  is  handing  a  pink  to  the  Christ 
Child. 

Early  portraits  of  special  excellence  are  Etienne 
Chevalier,  by  Fouquet,  and  Johannes  von  Ryht, 
by  an  unknown  Fleming. 

Diirer's  Madonna  with  the  Finch  (1506)  once 
hung  in  Holyrood  Palace.  It  is  a  decorative 
work.  The  fair-haired  Virgin  is  holding  the 
Child,  who  has  a  finch  on  his  arm  and  offers  a 
spray  of  lilies-of-the-valley  to  little  St.  John.  Two 
cherubs  hover  over  her  head  with  a  floral  garland, 


BERLIN  211 

Hieronymus  Holzschuher  is  the  most  vital  of 
all  Diirer's  portraits. 

"  The  clear  and  brilliant  eyes  shadowed  by  brows  that 
indicate  a  very  strong  will  have  a  very  unusual  vivacity; 
they  allow  us  to  perceive  a  very  keen  intelligence,  and  a 
grave,  loyal  and  sincere  soul.  The  very  well-formed  head 
is  covered  with  abundant  hair  of  silvery  grey,  which  falls 
in  curls  upon  the  collar  of  the  garment  while  a  few  wisps 
partly  hide  the  strongly  developed  forehead.  The  long 
beard,  which  is  also  almost  white,  brings  out  the  rosy 
tones  of  the  skin.  The  face  stands  out  from  a  very 
luminous  background  of  light  green. 

"  The  execution  of  the  portrait  which  occupies  our  at- 
tention, denotes  the  most  minute  care.  We  cannot  too 
much  admire  the  accuracy  and  precision  of  the  contours, 
the  delicacy  of  the  modelling  and  the  general  harmony  of 
the  colours.  If  the  face  and  figure  as  a  whole  present  a 
striking  veracity,  the  slightest  details  are  prodigies  of 
patience  and  skill.  What  minuta.  and  perfect  work  there 
is  in  the  soft  hair,  in  the  light  and  tangled  beard,  and 
also  in  the  fur !  "— (G.  G.) 

It  is  interesting  to  compare  this  with  Holbein's 
Georg  Gisze,  a  young,  wealthy  and  elegant  mer- 
chant seated  in  his  office. 

"  In  attentively  examining  our  personage  we  are  struck 
with  his  reflective  and  searching  glance.  We  seem  to 
have  a  glimpse  in  him  of  an  undefined  melancholy.  This 
is  a  state  of  mind  which  is  also  indicated  to  us  by  a 
motto  traced  above  his  name  on  one  of  the  walls  of  his 
office :  Nulla  sine  mcerore  voluptas. 

"  He  has  long  fair  hair  confined  beneath  a  black  cap ;  his 
smooth-shaven  face  is  rather  thin.  He  wears  a  rich  cos- 
tume, a  pourpoint  of  cerise  silk  with  puffed  sleeves,  and, 
over  this  pourpoint,  a  cloak  of  black  wool  lined  with  fur. 
The  table  on  which  he  is  leaning  is  covered  with  a  Persian 
rug,  and,  besides  the  various  objects  scattered  upon  it, 
you  notice  a  bunch  of  carnations  in  an  artistically  wrought 
Venetian  glass. 

"  The  master  has  fully  displayed  with  supreme  power, 
and  with  all  the  resources  of  his  art,  the  colours  of  the 


212  THE   BERLIN   GALLERY 

costume,  the  paleness  of  the  face,  and  the  freshness  of 
the  flesh  standing  out  from  the  background  of  green 
panels.  He  has  played  with  all  the  various  tones  of  the 
accessories,  book  and  registers,  inkstand,  watch,  and 
scales  for  weighing  the  gold.  Every  detail,  with  no  link 
missing,  contributes  to  form  the  perfect  harmony  of  the 
whole."— (A.  V.) 

Durer's  pupil  Altdorfer's  Rest  in  Egypt  is  a 
highly  decorative  work. 

The  Holy  Family  is  grouped  by  a  Renaissance 
fountain  with  the  buildings  of  a  city  behind  it. 
Angels  are  singing  and  playing  instruments  and 
sporting  on  the  edge  of  the  fountain  and  in  the 
water. 

It  is  interesting  to  compare  this  with  Cranach's 
Repose  in  Egypt,  his  earliest  known  work  (1504). 
The  Virgin  is  seated  with  her  Child  in  a  landscape 
with  St4  Joseph  leaning  on  his  staff.  Little  angels 
are  grouped  variously;  some  are  making  music; 
one  runs  after  a  parrot  on  the  wing;  and  another 
is  offering  strawberries  to  the  Child. 

Several  portraits  and  mythological  pictures  show 
this  Cranach  at  his  best.  The  Fountain  of  Youth 
requires  explanation. 

"  A  large  basin,  surrounded  by  steps,  and  with  a  richly- 
adorned  fountain,  forms  the  centre.  On  the  one  side, 
where  the  country  is  stony  and  barren,  a  multitude  of  old 
women  are  dragged  forward  on  horses,  waggons,  or  car- 
riages, and  with  much  trouble  are  got  into  the  water. 
On  the  other  side  of  the  fountain,  they  appear  as  young 
maidens,  splashing  about  and  amusing  themselves  with 
all  kinds  of  playful  mischief;  close  by  is  a  large  pavilion 
into  which  a  herald  courteously  invites  them  to  enter,  and 
where  they  are  arrayed  in  costly  apparel.  A  feast  is 
prepared  in  a  smiling  meadow,  which  seems  to  be  followed 
by  a  dance;  the  gay  crowd  loses  itself  in  a  neighbouring 
grove.  The  men  unfortunately  have  not  become  young, 
and  retain  their  grey  beards." — (C.) 


GEORGE  GISZE— Holbein 

BERLIN 


NURSE  AND  LAUGHING  BABY— Frans  Hals 

BERLIN 


BERLIN  213 

Schongauer's  Nativity,  in  which  the  Child 
lying  on  the  ground  under  a  shed  is  being  adored 
by  the  Virgin,  St.  Joseph  and  two  shepherds,  is 
remarkable  for  its  landscape  in  which  a  river  and 
a  city  appear;  and  in  Kulmbach's  Adoration  of 
the  Magi  there  is  also  a  delicately  executed  land- 
scape, seen  through  the  open  rafters  of  the  shed, 
down  which  the  Kings  and  their  retinues  are 
approaching. 

Among  the  important  early  Italian  works  are 
an  Entombment  by  Simone  Martini;  three  Ma- 
donnas by  Lippo  Martini;  and  a  Nativity  by 
Duccio  di  Buoninsegna. 

Fra  Angelico  has  two  pictures  of  the  Last 
Judgment;  one  much  finer  than  the  other. 

"  Genuine  '  airs  from  Heaven  '  pervade  that  happy  side 
where  angels  lead  the  long-tried  denizens  of  earth — 
chiefly  poor  friars — in  harmonious  measures;  one  angel 
even  gracefully  jocund,  as  it  heads  the  dance  with  arm 
gently  a-kimbo.  Nor  are  the  human  conditions  of  the 
Redeemed  omitted.  Nowhere  has  a  painter  so  touchingly 
illustrated  the  mourner's  watchword  '  meet  again.'  The 
first  glance  of  the  rising  Dead  falls  on  those  near  and  dear 
who  have  gone  before,  and  greeting  looks  and  gentle 
caresses  do  all  that  pious  art  may  do  to  reconcile  the 
apparent  mystery  of  ardent  human  hearts  and  spiritual 
conditions." — (A.  H.  L.) 

The  Madonna  Adoring  the  Child,  by  Filippo 
Lippi,  is  a  poetic  idyll  in  colour. 

"  The  Infant  lies  among  grass  and  flowers  in  a  secluded 
landscape ;  on  the  right  the  happy  Mother  kneels  in  adora- 
tion with  an  expression  of  the  most  hallowed  earnestness 
and  charming  simplicity,  while  to  the  left  John  appears  as 
a  marvellously  beautiful,  serious,  and  intelligent  child, 
holding  the  cross  and  banner.  The  Dove  hovers  above 
the  Infant.  The  Father  appears  with  outstretched  arms 
and  grey  head,  full  of  majesty,  encircled  by  rays  of  glory. 


214  THE  BERLIN   GALLERY 

The  landscape  is  worked  out  very  lovingly,  and  the  light 
radiating  from  the  Child  seems  to  shed  a  magic  glow 
on  the  chiaroscuro  of  the  wall." — (K.  W.) 

Filippino  Lippo  has  a  sympathetic  Crucifixion. 
His  pupil  Rafaello  del  Garbo  is  represented  by 
three  examples  of  the  Virgin  and  Child  in  which 
angel  music  and  human  tenderness  are  combined. 

"  Here  indeed,  two  epochs  come  in  contact :  the  severity 
and  restraint  of  the  old,  with  the  freedom  of  the  new. 
With  regard  to  the  drawing  and  general  loveliness  of 
the  expression  this  picture  belongs  among  the  best  in 
the  collection."— (K.  W.) 

Another  magnificent  Virgin  Enthroned  with 
angel  musicians,  saints,  and  superb  architectural 
accessories,  by  Alvise  Vivarini, 

"  is  in  my  eyes  not  only  the  most  important  work  of 
that  master,  but  one  of  the  most  important  productions 
of  Venetian  art  in  the  Fifteenth  Century.  Alvise  is  as 
noble  and  vigorous  in  this  painting  as  Bartolommec 
Montagna,  and,  besides  Giovanni  Bellini,  I  do  not  know 
of  any  master  in  Venice  who  could  have  produced  such 
a  painting  in  the  last  decade  of  the  Fifteenth  Century." — 
(M.) 

In  a  famous  Madonna  Enthroned  by  Andrea 
del  Sarto,  eight  saints  stand  beside  her  and  on  the 
steps  of  the  throne. 

Baldassare  of  Este's  small  Virgin  and  Child, 
with  landscape  background  beautified  with  a  lake, 
is  reminiscent  of  the  School  of  Padua,  but  the 
colouring  and  chiaroscuro  effects  seem  to  be  derived 
from  Piero  della  Francesca. 

Andrea  Verrocchio  has  also  a  fine  Madonna 
and  Child  with  landscape  background. 

Carpaccio's  Consecration  recommends  itself  by 
the  beauty  of  its  group  of  old  men,  the  boldness 


BERLIN  215 

of  its  perspective,  and  the  wealth  of  its  picturesque 
details. 

In  Francia's  Virgin  and  Child  Enthroned  with 
Six  Saints  (1502), 

"  we  see  the  Madonna  bearing  the  Divine  Child  seated 
within  a  halo  of  cherubs  thoroughly  Peruginesque  and 
painted  just  at  the  time  when  Perugino's  influence  was 
strongest  upon  the  artist;  but  the  personality  of  Francia 
is  apparent  in  the  angel  with  outstretched  arms  which  is 
under  the  feet  of  the  Madonna,  and  which  is  not  in  the 
least  like  the  work  of  Perugino.  Below,  grouped  in  the 
familiar  Umbrian  manner,  and  in  the  midst  of  a  land- 
scape almost  Umbrian  in  its  character,  are  six  saints." — 
(W.) 

Cosimo  Tura's  Madonna  Enthroned  is  a  splen- 
did example  of  the  School  of  Ferrara. 

"  In  spite  of  the  multiplicity  of  details,  this  important 
and  remarkable  picture,  in  which  the  brilliant  hues  of  the 
vestments,  the  gold  of  the  mosaics,  the  bronze  of  the  bas- 
reliefs  and  the  blue  of  the  firmament  combine  so  happily 
to  give  an  idea  of  the  magnificence  that  ought  to  sur- 
round the  humble  Mary  and  her  Son,  loses  none  of  its 
moral  signification :  it  is  deeply  religious.  The  figures 
are  in  perfect  harmony.  Moreover,  it  reveals  meritorious 
efforts  towards  ideal  beauty." — (G.  G.) 

Cima  da  Conegliano  also  has  a  Virgin  En- 
throned, attended  by  four  saints.  The  canopy 
over  the  throne  is  magnificent.  A  greater  work 
by  Cima  is  St.  Mark  Healing  Ananias  in  the 
market-place  of  Alexandria. 

The  Madonna  and  Child  with  Saints  is  one 
of  the  few  works  of  Botticelli  for  which  there  is 
documentary  evidence.  The  Madonna  is  dejected, 
patient  and  passive ;  St.  John  the  Evangelist  an  old 
man  of  philosophical  mien ;  and  John  the  Baptist 
an  emaciated  ascetic.  The  Holy  Child,  however, 


216  THE   BERLIN   GALLERY 

feels  none  of  this  sadness  as  He  playfully  lies  on 
His  mother's  lap. 

"  The  entire  background  is  filled  by  three  bower-like 
niches  of  thickly  woven  foliage,  which,  in  lieu  of  marble 
canopies,  shelter  the  three  figures:  plaited  palm  branches 
for  the  Madonna,  cypress  boughs  for  the  Baptist  and 
myrtle  for  the  Evangelist.  Bowls  of  roses  and  vases  with 
lilies  and  olive  sprays  are  placed  on  the  richly-chiselled 
marble  balustrade;  and  innumerable  flowers  peer  up  from 
the  grass  below  and  caress  the  sculptured  stone-work  at 
the  Madonna's  feet.  All  this  delicate  beauty  of  detail, 
all  the  sense  of  freshness  and  repose  in  the  surroundings, 
only  serves  to  enhance  the  expression  of  human  suffering 
in  the  figures." — (A.  H.  S.) 

"  The  Madonna  Enthroned  is  in  a  recess  between  seven 
youthful  angels  with  flowing  dress  and  wings,  rose-wreaths 
on  their  heads  and  wax  tapers  in  their  hands.  There  are 
four  to  the  right  and  three  to  the  left,  the  gap  on  this 
side  being  filled  by  the  head  of  the  Child  .supported  by  the 
Mother,  as  he  stands  on  the  balustrade  of  the  throne,  so 
that  here  great  beauty  is  imparted  to  the  usually  some- 
what formal  symmetry  of  such  compositions.  Charming 
are  two  naked  little  winged  boys,  artlessly  looking  down 
from  above  the  moulding  of  the  recess." — (K.  W.) 

Crivelli's  Madonna  and  Saints  is  also  a  decora- 
tive work  of  high  order.  The  Holy  Child,  one  of 
Crivelli's  loveliest  inspirations,  is  giving  with  ex- 
quisite grace  the  keys  to  St.  Peter  in  an  assemblage 
of  saints. 

"  The  composition  is  simple,  yet  free  from  monotony. 
As  a  whole,  the  picture  depends  for  its  effect  on  the  in- 
terest of  the  heads  and  on  the  decorative  effect  of  the 
magnificent  fabrics  in  which  the  chief  saints  are  vested. 
Nothing  could  surpass  the  execution  of  this  superb  pic- 
ture."—(G.  McN.  R.) 

Vittore  Pisano's  Adoration  of  the  Magi  is  a 
charming  work.  The  magnificent  cavalcade  wirrds 
through  the  hills  and  along  the  roads  to  the  shed 


BERLIN  217 

before  which  sits  the  Virgin  with  the  Child  in  her 
lap.  All  the  figures  wear  the  superb  Italian  cos- 
tumes of  the  middle  of  the  Fifteenth  Century. 
Pisano  has  not  neglected  his  favourite  birds,  for 
two  falcons  appear  in  the  air  with  a  heron  and  a 
peacock  on  the  straw  roof  of  the  shed.  The  back- 
ground is  gold. 

Antonio  Vivarini's  Adoration  of  the  Magi  is 
similarly  treated  and  suggests  Fabriano's  work  in 
the  Florence  Academy. 

In  Raphael's  Madonna  di  Casa  Colonna 

"  the  freedom  of  handling  is  so  great  that  one  is  in- 
clined to  think  Raphael  must  have  painted  it  without  a 
model.  The  Child  is  attempting  to  stand  upon  his 
mother's  knee  by  holding  on  to  the  bodice  of  her  dress, 
while  she,  looking  up  from  her  book  with  a  very  sweet 
expression,  tries  to  keep  him  quiet.  The  Madonna  di 
Casa  Colonna  is  full,  however,  of  beauties  of  the  very  high- 
est order,  and,  in  spite  of  the  exuberance  of  life,  the  out- 
lines are  purer  and  more  severe  than  in  any  of  his  pre- 
vious drawings;  but,  unfortunately,  the  painting  itself  was 
never  completed." — (M.) 

The  Terranuova  Madonna  is  one  of  the  first 
instances  in  which  Raphael  included  the  little  John 
the  Baptist  in  the  group  with  the  Madonna  and 
Child.  Here  he  introduces  a  third  child,  probably 
St.  John  the  Evangelist.  The  Virgin  is  seated  in  the 
middle  with  Jesus  on  her  knee.  The  two  other 
children  are  at  her  side,  and  John  the  Baptist  is 
handing  the  streamer  with  the  words,  ECCE  AGNUS 
DEI,  to  the  Holy  Child. 

"  The  figure  of  the  Virgin  is  alone  remarkable  for  its 
beauty,  which  in  some  degree  reminds  one  of  the  Ma- 
donnas of  Leonardo,  and  for  the  softness  of  expression, 
which  seems  to  reflect  the  disposition  of  Raphael  himself." 


218  THE   BERLIN   GALLERY 

In  Montagna's  Christ  Appearing  to  Magdalen, 
who  kneels  on  the  ground  before  Him,  the  moun- 
tainous landscape  with  a  city  in  the  background  is 
exceptionally  fine.  John  the  Baptist  and  St.  Jerome 
are  on  the  right  and  left. 

An  altar-piece  by  Alessandro  Bonvicino  (Mor- 
etto  da  Brescia)  represents  the  Virgin  and  Eliza- 
beth in  Glory.  They  are  seated  in  the  clouds  with 
the  little  Jesus  and  St.  John,  while  below  them 
kneel  the  donors. 

Leonardo  da  Vinci's  Ascension,  where  Christ 
is  rising  from  a  red  marble  tomb  in  white  grave 
clothes  holding  a  banner  in  His  hand,  is  notable  for 
its  beautiful  landscape  through  which  a  river  winds. 
Kneeling  in  the  foreground  with  astonished  ex- 
pressions are  two  young  Saints:  Lucia,  holding  a 
dish  of  eyes ;  and  St.  Leonard,  a  young  deacon. 

To  Leonardo's  friend  and  pupil,  Francesco 
Melzi,  is  attributed  the  large  picture  of  Vertumnus 
and  Pomona.  Vertumnus,  in  the  guise  of  an  old 
woman,  has  entered  Pomona's  garden  and  touches 
her  gently  on  the  shoulder.  The  goddess  is  seated 
under  a  tree  holding  a  basket  of  fruit.  Her  oval 
face,  with  the  drooping  lids  and  smiling  mouth, 
resembles  Leonardo's  type  of  beauty.  The  picture 
is  full  of  poetic  charm,  and  the  colours  are  wonder- 
fully fresh. 

A  beautiful  display  of  colour  and  wonderful 
treatment  of  light  and  shade  occurs  in  Tintoret's 
Luna  and  the  Hours,  a  decorative  work  in  which 
the  moon-goddess  in  her  car  drives  through  the 
clouds  on  the  rays  of  the  setting  sun,  accompanied 
by  her  attendants,  the  Hours. 

Correggio's  famous  Leda  was  mutilated  by  the 
Duke  of  Orleans,  son  of  the  Regent. 


BERLIN  219 

"  The  composition  is  richer  and  more  varied  than  in 
most  of  Correggio's  paintings.  There  is  no  doubt  but  that 
Correggio  has  distinctly  portrayed  love  in  its  different 
phases,  namely,  the  approach,  the  embrace  and  departure 
in  this  allegorical  work.  On  the  other  side  of  Leda, 
turning  his  back  to  her,  and  standing  more  in  the  shadow 
of  the  leaves,  is  a  winged  boy-genius  on  the  threshold  of 
manhood.  He  is  playing  happily  upon  his  lyre,  apparently 
quite  unconcerned  at  the  scene  that  is  passing  before  him, 
and  is  a  perfect  specimen  of  that  joyous  life  that  char- 
acterises Allegri's  creations  in  real  life  as  well  as  in 
the  world  of  fable.  At  his  feet  and  quite  to  the  left 
margin  of  the  picture  are  two  merry  little  horned  Putti 
playing  music.  The  whole  idyll  is  represented  in  a  charm- 
ing richly-wooded  landscape,  which  together  with  the 
bright  distance,  is  favourable  to  the  play  of  the  chiaro- 
scuro and  brings  out  the  brilliancy  of  the  flesh  tones." — 
(J.  M.) 

Signorelli's  Pan  as  God  of  Natural  Life  and 
Master  of  Music  with  his  Attendants  has  been 
identified  as  the  picture  of  which  Vasari  wrote : 
"  He  painted  for  Lorenzo  de'  Medici  on  canvas 
some  nude  gods,  which  were  much  praised." 
It  is  considered  one  of  Signorelli's  best  easel 
pictures. 

"  It  is  full  of  poetry  and  of  idyllic  charm  with  all  its 
stately  solemnity.  The  sad  beauty  of  the  god  as  he 
listens  to  the  music  of  the  pipes,  the  golden  sunlight  on 
the  moss-green  grass,  the  quiet  peace  of  the  scene  have 
an  entrancing  effect,  and  we  are  transported  in  spirit  to 
the  same  '  melodious  plot  of  beechen  green  and  shadows 
numberless  '  where  Pan  holds  his  court.  The  bronze 
coloured  body  of  the  god  is  magnificently  modelled,  with 
a  solidity  unequalled  even  in  the  Orvieto  frescoes.  The 
style  of  Pollainolo  is  noticeable  in  the  attitude  of  the 
youth  lying  at  Pan's  feet,  particularly  in  the  treatment  of 
the  legs."— (M.  C.) 

Antonio  Pollaiuolo's  David  stands  against  a 
slate-grey  wall,  as  in  many  of  the  portrait  figures 


220  THE   BERLIN   GALLERY 

of  the  day,  and,  but  for  the  sling  and  the  head 
of  the  giant,  might  pass  as  the  portrait  of  some 
young  Florentine  noble. 

The  Annunciation  is  ascribed  solely  to  Piero 
Pollaiuolo;  but  Antonio  probably  had  a  hand  in 
the  beautiful  landscape,  with  its  view  of  Florence, 
painted  with  all  the  delicacy  of  a  miniature. 

Francesco  Cossa's  Autumn, 

"  a  young  and  vigorous  creature,  a  real  country  girl,  is 
lacking  neither  in  elegance  nor  in  a  certain  pride,  although 
she  is  very  simple  and  very  natural.  Realism  here  has 
nothing  to  shock  the  taste:  it  even  allies  itself  with  native 
distinction.  Strange  to  say,  we  do  not  see  any  of  Cossa's 
familiar,  fanciful  rocks  in  the  landscape  dominated  by  the 
figure.  The  colour  is  clear  and  limpid,  and  the  atmos- 
phere is  rendered  with  great  finesse." — (G.  G.) 

Caravaggio's  Saint  Matthew  receiving  dicta- 
tion from  an  angel  is  a  colossal  and  strong  figure. 

"  There  is  no  less  strength  and  more  naturalness  (I 
might  even  say  nobility)  in  his  great  Entombment;  his 
Love  Triumphing  over  Science  and  Art,  and  his  Genius 
of  War  Triumphing  over  Love.  There  is  much  simple 
and  naive  grace  in  his  portrait  of  a  young  Roman  girl 
holding  a  wreath  of  orange  blossoms." — (L.  V.) 

Tiepolo's  Martyrdom  of  Saint  Agatha  is  a 
masterpiece 

"  not  only  on  account  of  the  discreet  handling  of  the  repel- 
lent subject,  but  because  of  the  broad  treatment,  the  skilful 
disposition  of  light  and  shade  and  the  harmony  of  the 
colour."— (R.  M.) 

Of  Titian's  portraits,  first  comes  his  daughter 
Lavinia,  holding  up  a  silver  dish  of  fruits  and 
flowers. 

"  As  depicted  in  the  broad  manner  characteristic  of 
Titian  about  1550,  Lavinia,  at  Berlin,  is  full-grown  but  of 


BERLIN  221 

robust  shape,  dressed  in  yellowish  flowered-silk  with 
slashed  sleeves,  a  chiselled  girdle  round  her  waist,  and  a 
white  veil  hanging  from  her  shoulders.  Her  head  is 
thrown  back,  and  turned  so  as  to  allow  three-quarters  of 
it  to  be  seen  as  she  looks  from  the  corners  of  her  eyes  to 
the  spectator.  Auburn  hair  is  carefully  brushed  off  the 
temples,  and  confined  by  a  jewelled  diadem,  and  the  neck 
is  set  off  with  a  string  of  pearls.  A  deep  red  curtain 
partly  concealing  a  brown-tinged  wall  to  the  left,  to  the 
right  a  view  of  hills,  seen  from  a  balcony  at  eventide, 
complete  a  picture  executed  with  great  bravura,  on  a 
canvas  of  coarse  twill." — (C.  and  C.) 

The  Daughter  of  Robert  Strozzi 

"  is  one  of  the  most  sparkling  displays  of  youth  that  was 
ever  executed  by  any  artist.  The  child  stands  with  her 
left  hand  on  the  silken  back  of  her  pet  dog.  In  her  right 
is  a  fragment  of  cake  they  have  both  shared.  She  is 
bejewelled  as  befits  a  princess.  The  flesh  is  solid  and 
pulpy,  the  balance  of  light  and  shadow  as  true  as  it  is 
surprising  in  the  subtlety  of  its  shades  and  tonic  values, 
its  harmonies  of  tints  rich,  sweet,  and  ringing;  and  over 
all  is  a  sheen  of  the  utmost  brilliance.  Well  might  Are- 
tino,  as  he  saw  this  wondrous  piece  of  brightness,  ex- 
claim :  '  If  I  were  a  painter,  I  should  die  of  despair,  but 
certain  it  is  that  Titian's  brush  has  waited  on  Titian's  old 
age  to  perform  its  miracles.'  " — (C.  and  C.) 

Titian's  own  Portrait  shows  him  in  the  closing 
years  of  his  long  life,  in  profile,  with  his  big,  strong 
nose,  and  his  long  white  beard. 

"  Nothing  could  be  more  striking.  We  feel  the  strong 
will  of  this  grand  old  man  who  has  been  overwhelmed 
neither  by  sadness  nor  by  incredible  production.  He  is 
watching,  and  seems  to  follow  in  space  an  ideal  image : 
he  is  still  greedy  to  express  that  beauty  of  the  universe 
and  of  the  human  form  that  he  has  so  often  celebrated." 
—  (M.  H.) 

Among  other  portraits  of  the  first  rank  are 
Giorgione's  Young  Man  dressed  in  violet,  and 


222  THE   BERLIN   GALLERY 

Bronzino's  Ugo  Martelli.  The  latter  is  sitting 
at  the  table  in  his  Florentine  palace  among  his 
books. 

"  For  nobility  of  sentiment,  clearness  of  drawing  and 
delicacy  of  modelling,  this  picture  is  the  best  work  of 
the  Italian  portrait-painter." — (A.  R.) 

Lorenzo  Lotto's  Portrait  of  an  Architect  is 
an  excellent  example  of  his  mature  period.  His 
Portrait  of  a  Youth  is  thought  to  be  himself. 

"  They  both  have  refined,  inward  elegance  of  feeling 
which  marks  the  culminating  point  in  the  last  stage  of 
progressive  art  in  Italy." — (G.  M.) 

Sebastian  del  Piombo's  Young  Woman  is  re- 
markable for  her  striking  individuality,  aristo- 
cratic bearing  and  rich  dress.  Beautifully  painted 
are  the  fruits  and  flowers  in  her  basket. 

Agostino  Carracci's  Johanna  Parolini-Guicci- 
ardini,  dressed  in  grey  and  seated  in  a  chair  with 
a  book,  is  admired  for  its  simplicity  and  verity. 

Guardi's  lovely  View  of  the  Giudecca  ranks 
with  his  masterpieces  in  Dresden. 

There  are  three  fine  portraits  by  Velasquez. 
Juana  de  Miranda  is  supposed  to  be  his  wife. 

"  She  has  the  easy  attitude  of  refined  culture,  although 
the  proud  bearing,  the  firm  grasp  of  the  arm  of  the  red 
chair,  and  the  expression  seem  to  betray  more  character 
than  is  seen  in  the  royal  ladies.  In  the  quick  glance  of 
the  brown  eyes  and  the  play  of  the  mouth  there  is  some- 
thing sprightly,  exulting,  even  roguish,  at  variance  with  the 
cold  seriousness  of  high-born  dames." — (C.  J.) 

Velasquez  is  also  represented  by  a  Portrait  of 
the  Infanta  Maria,  wearing  a  conventional  dress 
with  a  border  of  eight  golden  bands,  and  holding  a 
handkerchief.;  and  the  corpulent  Field-Marshal 
Alessandro  del  Borro,  beneath  whose  feet  is  a  red 


BERLIN  223 

and  white  flag  sprinkled  with  the  golden  bees  of 
the  Barberini  family. 

In  Murillo's  celebrated  St.  Anthony  of  Padua 
and  the  Infant  Jesus,  taken  by  Soult  in  1810 
from  Seville,  St.  Anthony's  attitude  is  full  of  grace 
as  he  kneels  in  profile  on  the  ground,  pressing  his 
cheek  to  that  of  the  Holy  Child,  whom  he  rever- 
ently holds  in  his  arms.  Five  cherubs  are  in  a 
glory  above  and  two  are  on  the  ground.  One  of 
the  latter  is  holding  a  lily  and  the  other  opening 
a  book.  The  landscape  is  beautiful. 

The  Miracle  of  the  Crucifix  is  one  of  Zurbaran's 
best  works,  and  represents  the  young  Francis- 
can monk  paying  a  visit  to  the  study  of  Bona- 
ventura,  who,  drawing  aside  a  curtain,  shows 
him  the  image  of  Christ  on  the  cross  as  an  ex- 
planation of  the  mystic  words  of  St.  Paul :  "  I 
have  determined  not  to  kno^  anything  among  you, 
save  Jesus  Christ,  and  him  crucified." 

"  The  translation  into  painting  of  these  words  is  ac- 
complished with  marvellous  clarity  and  dramatic  force. 
Truly  remarkable  also  is  the  representation  of  the  study 
and  library  of  a  theologian  of  the  Seventeenth  Century." 
—  (R.  M.) 

Ribera's  Saint  Sebastian  is  one  of  this  painter's 
best  works. 

"  In  his  Holy  Sebastian,  who,  pierced  with  arrows,  has 
sunk  under  the  trees,  Ribera  has  reached  beauty.  The 
beautifully  lighted  body  of  splendid  modelling  stands  out 
boldly  from  the  dark  background  where  the  moon  is  about 
to  disappear  behind  the  clouds." — (R.  M.) 

The  lovely  Child's  Head  by  Rubens  is  a  study 
of  his  youngest  son,  Nicholas,  in  which  the  little 
boy's  rosy  cheeks,  face,  and  mass  of  curly  hair  are 
set  off  by  a  white  dress,  a  necklace  of  pearl  and 


224  THE   BERLIN   GALLERY 

coral  and  a  green  parrot  that  the  boy  holds  by  a 
cord. 

Neptune  and  Amphitrite  belongs  to  the  period 
of  1614-1615.  The  figure  of  Amphitrite  is  beauti- 
fully mounted  and  delicately  painted.  The  painter 
has  represented  himself  in  the  left  background  as  a 
river-god.  The  animals  and  shells  are  lovingly 
painted. 

Rubens  painted  several  pictures  of  Perseus 
and  Andromeda,  and  perhaps  of  all  the  examples 
this  is  the  most  satisfactory. 

"  What  a  delicious  invention  are  those  little  Cupids  who 
press  about  the  young  couple.  Two  are  at  their  feet  to 
help  loosen  the  bonds  of  the  captive ;  another  has  taken 
the  bridle  of  Pegasus,  who  is  neighing  at  his  ease;  and 
two  others  help  each  other  to  climb  upon  the  wide  back 
of  the  gentle  steed !  And  what  shall  we  say  with  regard 
to  execution?  How  shall  we  give  an  idea  of  the  har- 
mony and  the  brilliancy  of  the  carnations?  What  an  as- 
semblage of  fresh  shades  and  what  happy  juxtapositions 
are  presented  by  the  milky  tints  of  Andromeda's  flesh 
with  the  purple  mantle  and  steel  armour  and  helmet  of 
Perseus!  And  then  those  firm  little  bodies  of  Cupids, 
with  their  blonde  heads  and  flesh  of  rose  and  mother-of- 
pearl  ;  that  Pegasus  of  dappled  grey  and  his  tail,  mane 
and  great  wings  of  white;  that  blue  sky  and  that  glaucous 
sea  that  throws  its  foam  upon  the  rocks!" — (E.  M.) 

Diana  and  her  Nymphs  Molested  by  Satyrs 
is  a  masterpiece  of  his  latest  period.  Diana  with 
her  crescent  on  her  brow  is  lying  on  red  drapery 
with  her  quiver  beside  her,  enjoying  the  repose  of 
the  forest.  Very  beautiful  are  the  rocks,  the  blue 
sky  and  the  jet  of  water.  The  nymphs  and  their 
diaphanous  draperies  are  delicately  executed. 

Diana  Hunting  is  a  beautiful  animated  group 
with  flying  draperies  and  lovely  flesh-tints  as  they 
chase  the  animals  through  the  forest.  The  land- 


BERLIN  225 

scape  is  by  Wildens;  and  the  dogs  and  deer  by 
Snyders. 

"  The  characters  and  the  expression  are  more  elevated 
than  usual  in  the  works  of  Rubens :  the  colour  is  uncom- 
monly bright,  the  execution  is  broad  and  spirited,  and  the 
treatment  of  the  whole  harmonious  and  beautiful." — (W.) 

Admirers  of  Frans  Snyders  should  not  fail  to 
notice  his  Cock  Fight,  where  two  feathered 
knights  with  beautiful  plumage  are  fighting 
furiously,  while  two  hens  look  on.  Four  Dogs' 
Heads  is  also  a  magnificent  piece  of  work.  A 
clever  Still  Life  depicts  a  Japanese  porcelain 
bowl  standing  on  a  table,  filled  with  fruit. 

Van  Dyck's  Pieta  is  remarkable  for  the  beauty 
of  the  little  weeping  angel  who  is  pointing  to 
Christ's  wounds. 

Two  famous  companion  portraits  are  the 
Genoese  senator,  Giustiniani  and  his  wife;  and 
also  one  of  his  groups  of  the  Children  of  Charles 
I.  with  their  faithful  dog. 

Cornelis  de  Vos  has  a  Nobleman  and  his  Wife, 
seated  on  the  terrace  of  their  country  home; 
and  a  lovely  picture  of  his  own  Daughters — 
two  attractive  little  Flemish  girls,  with  blonde 
hair,  sitting  on  the  ground  and  eating  peaches  and 
cherries.  The  evening  light  falls  beautifully  upon 
the  landscape  background. 

Nowhere  else  is  Frans  Hals  so  lavishly  and 
characteristically  represented.  Standing  out 
prominently  from  the  splendid  array  of  portraits 
is  the  Young  Singer,  the  famous  Nurse  and 
Laughing  Baby,  of  the  Ilpenstein  family  (1535). 
The  baby,  so  comfortably  held  in  the  proud 
nurse's  arms  and  wearing  a  cap  and  gorgeous 


226  THE   BERLIN   GALLERY 

yellow  flowered  dress,  is  wonderfully  portrayed. 
The  homely  nurse  is  also  a  portrait  of  the  first 
order. 

"  The  child's  lace  stomacher,  cap  and  collar  are  made 
out  with  a  far  more  exact  precision  than  it  is  easy  to 
quote  in  any  other  picture  by  the  master.  The  child's 
dress  is,  with  like  intention,  wrought  with  great  care. 
And  the  result  is  a  certain  air  of  primness  and  primitive- 
ness  in  the  canvas  which  is  charmingly  correspondent  to 
the  note  of  the  whole  picture. 

"  And  this  child's  face  should  be  studied.  If  you  watch 
the  little  face,  you  will  see  it  just  beginning  to  ripple  all 
over  with  the  laughter  that  will  come  in  a  minute." — 
(G.  S.  D.) 

Hille  Bobbe,  a  grotesque  old  fish-wife  of 
Haarlem,  is  also  one  of  Hals's  greatest  triumphs : 

"  As  a  piece  of  slashing,  instantaneous  execution,  a 
superb  snapshot  with  brushes  and  colour,  nothing  can  go 
far  beyond  it.  It  is  done — you  may  see  it  in  every  single 
brushmark — at  lightning  speed.  '  Careless,  hasty,  reck- 
less work,'  it,  and  other  of  Hals's  work  of  the  date,  has 
been  called.  Nothing  of  the  kind.  It  is  careful — the  care 
of  extreme,  though  habitual,  tension  and  breathless  con- 
centration— the  sort  of  care  which  a  first-rate  game-shot 
uses,  and  which  seems  like  a  kind  of  jugglery  to  the 
looker-on.  It  is  fully  considered,  each  almost  shapeless 
touch.  It  is  calculated,  every  splash  of  it,  and  never  hasty 
or  reckless,  though  always  at  full  speed.  The  best — and 
Hals's  best  was  good — he  could  do  in  the  time;  and  the 
time  was,  pne's  instinct  tells  one,  limited  by  Hille  Bobbe's 
patience;  and  that,  one's  instinct  says  again,  was  in  its 
turn  limited  by  the  depth  of  the  pewter  of  schnapps  which 
she  holds  in  her  withered  old  hand."— (G.  S.  D.) 

The  Merry  Trio  is  an  old  copy ;  but  it  exhibits, 
nevertheless,  Hals's  humour  and  dashing  technique. 
The  company  is  far  from  dignified — a  richly 
dressed  young  woman  seated  on  an  old  man's 


BERLIN  227 

knee,  while  another  young  woman  holds  a  crown 
of  sausage  above  their  heads — but  the  spirit  and 
gaiety  of  the  group  carry  the  spectator  along  with 
irresistible  power. 

The  Young  Singer,  with  uplifted  hand,  is  an- 
other dashing  performance. 

Rembrandt's  Renier  Anslo  is  supposed  to 
represent  a  minister  offering  spiritual  consolation 
to  a  widow.  Simplicity  is  here  carried  to  an  ex- 
treme. 

"  The  minister's  air  of  conviction  and  authority,  and 
the  respectful  attention  with  which  his  listener  receives 
his  exhortations,  once  more  attest  Rembrandt's  clarity 
in  the  rendering  of  his  thought.  The  sober  costumes  of 
his  sitters  serve  to  emphasise  their  fresh  carnations;  and 
the  general  harmony  very  happily  completes  the  some- 
what austere  effect  of  this  fine  picture." — (E.  M.) 

The  Money  Changer,  remarkable  for  its  distri- 
bution of  light  and  representing  an  old  man  exam- 
ining a  coin  by  the  light  of  a  candle,  is  said  to  be 
a  portrait  of  Rembrandt's  father. 

"  Unlike  Elsheimer  and  Honthorst,  who  in  treating 
such  subjects  made  the  actual  source  of  light  in  all  its  in- 
tensity a  main  feature  of  the  composition,  Rembrandt 
conceals  the  flame,  and  contents  himself  with  rendering 
the  light  it  sheds  on  surrounding  objects,  especially  on 
the  very  delicately  modelled  head  of  the  old  man." — 
(E.  M.) 

The  Man  in  a  Golden  Helmet  is  said  to  be  the 
artist's  brother;  one  of  Rembrandt  himself  was 
painted  in  1634;  one  of  Saskia  was  painted  after 
her  death  in  1643;  and  one  of  a  Woman  at  the 
Window,  richly  dressed  and  in  a  graceful  pose,  is 
thought  to  be  Hendrickje  Stoffels,  Rembrandt's 
servant. 


228  THE   BERLIN   GALLERY 

Of  the  several  Biblical  pictures,  Susannah  and 
the  Elders  is  perhaps  the  most  famous.  The 
bath  is  hollowed  out  among  rocks,  and  on  its  wall 
are  seen  flowers,  creepers,  branches  of  trees  and  a 
peacock.  Above  in  the  background  rise  a  tower 
and  other  buildings.  Susannah's  rich  garments  of 
purple  and  gold  lie  on  the  circular  stone  seat  be- 
hind the  bather. 

"  These  vivid  tones  are  enhanced  by  the  neutral  grey 
of  the  sky  and  the  stone,  the  deep  green  of  the  trees  and 
the  strong  yellows  of  the  bushes,  and  throw  the  dazzling 
whiteness  of  Susannah's  body  into  forcible  relief." — 
(E.  M.) 

The  same  tower  appears  in  the  Vision  of 
Daniel,  in  which  landscape  plays  an  important 
part. 

"  Daniel  has  fallen  forward  on  his  face  by  the  river- 
side, trembling  with  fear  at  the  apparition  of  the  strange 
beast  on  the  opposite  bank.  The  angel  Gabriel  stoops  to 
raise  him  from  the  ground  and  expounds  the  vision, 
pointing  to  the  fantastic  ram  from  which  the  young 
prophet  averts  his  terrified  gaze.  But  though  the  beast 
is  rather  grotesque  than  terrible,  its  absurdity  is  more 
than  redeemed  by  the  awe-struck  face  of  Daniel,  his  at- 
titude and  that  of  the  consoling  angel,  the  mysterious 
brightness  which  throws  the  two  figures  into  strong  re- 
lief against  the  brown  tones  of  the  surrounding  land- 
scape, and,  finally,  the  skill  with  which  the  handling  is 
adapted  to  the  dimensions.  The  work  remains,  in  spite 
of  its  defects,  one  of  the  most  poetic  of  the  master's 
creations  of  this  period." — (E.  M.) 

Joseph  Accused  by  the  Wife  of  Potiphar  is 
admired  for  its  expressive  faces  and  attitudes  of 
the  three  figures,  and  still  more  for  the  richness 
and  harmony  of  the  colour-scheme  in  which  reds 
and  greens  are  splendidly  contrasted. 


BERLIN  229 

Samson  Threatening  his  Wife's  Father  was 
long  a  puzzle  to  critics ;  and  some  of  them  thought 
this  a  likeness  of  Duke  Adolphus  of  Guelders  shak- 
ing his  fist  at  his  imprisoned  father-in-law.  The 
picture  was  greatly  admired  by  Napoleon  I.,  who 
kept  it  in  his  private  room  at  St.  Cloud. 

Ter  Borch  is  represented  by  a  number  of  works 
of  the  first  order.  The  Satin  Dress  is  a  replica 
of  the  original  at  the  Ryks  (see  page  152).  The 
Smoker  is  a  splendid  character  study;  and  so  is 
the  Visit  of  an  Old  Lady  to  the  Physician.  A 
stronger  work  than  either  is  the  Knife-Grinder. 
The  whetstone  stands  before  a  poor  dwelling-house, 
and  in  the  background  appears  the  high  gable  with 
a  stork's  nest.  The  weather-beaten  and  crumbling 
wood  and  stone  of  the  house  are  marvellously  de- 
picted ;  and  a  warm  brown  tone  suffuses  the  whole 
work.  Another  masterpiece  is  The  Concert, 
where  a  young  lady  in  a  white  silk  dress,  red 
jacket  and  black  fur  collar,  is  sitting  with  her  back 
to  the  spectator,  playing  the  viola  de  gamba;  an- 
other lady  is  accompanying  her  on  a  spinet. 

Two  works  of  Jan  Vermeer,  of  Delft,  show  this 
master  at  his  best.  One  represents  a  Lady  standing 
before  her  Mirror  removing  her  pearl  necklace; 
and,  although  the  subject  is  devoid  of  beauty,  the 
fine  treatment,  the  combination  of  colour — the 
citron  yellow  of  her  jacket  and  the  pearl-grey  of 
the  background  and  the  light  and  atmosphere  that 
penetrate  the  room — make  this  a  most  attractive 
picture.  The  Gentleman  and  Lady  Drinking 
Wine  is  equally  fine  in  its  treatment  of  light.  All 
the  accessories,  too,  are  exquisitely  rendered. 

A  little  jewel  by  Pieter  de  Hooch  represents  a 
simple  Dutch  living-room,  where  a  mother  is  sit- 


230  THE   BERLIN   GALLERY 

ting  by  the  cradle,  having  evidently  just  put  her 
child  to  sleep.  Through  the  open  door,  we  gain  a 
glimpse  of  the  room  beyond ;  and,  through  another 
open  door,  the  morning  sun  streams  in  and  falls  on 
the  bed  and  curtains  with  that  peculiar  brilliancy 
that  this  master  understands  so  well. 

Jan  Steen  is  also  well  exhibited.  A  very  charm- 
ing Inn  Garden  shows  a  group  of  happy  people 
seated  under  a  green  arbour,  eating  and  drinking. 
On  the  left,  with  his  foot  on  the  bench,  the  painter 
himself  may  be  recognised  about  to  give  a  piece 
of  herring  to  an  expectant  dog.  The  work  is  a 
marvel  of  delicate  workmanship  and  beautiful 
treatment  of  sunlight  and  shadow. 

Another  splendid  work  is  The  Christening, 
where  in  a  well-furnished  guest-room  the  family 
have  assembled  around  the  cradle.  A  well-spread 
table  and  a  servant  bringing  in  a  fine  pie  show 
that  preparations  have  been  made  for  a  feast. 

The  only  known  work  with  a  landscape  back- 
ground, by  Dow's  pupil,  Gottfried  Schalcken, 
painter  of  candle-light  effects,  should  be  noticed  on 
account  of  the  beautiful  treatment  of  the  gnarled 
willows  and  yellow  water  lilies  and  reeds  that  grow 
by  the  canal  where  the  Fisher  Boy  is  angling. 
A  butterfly  has  lighted  on  one  of  the  flowers. 

Of  the  four  beautiful  landscapes  by  Cuyp,  bathed 
in  the  sunlight,  note  three  small  pictures :  one  of 
the  Dunes;  a  Flooded  Landscape  where  two 
cows  are  drinking  from  the  river;  and  a  Spring 
Landscape. 

Paul  Potter's  Bosch  near  The  Hague  is  a  hunt- 
ing-scene. In  the  foreground  appear  huntsmen 
with  dogs  and  falcons;  and  on  the  road,  Prince 
Frederick  Henry's  carriage,  drawn  by  six  white 


BERLIN  231 

horses,  is  visible.  In  the  background  there  is  an 
opening;  and,  near  a  grove  of  trees,  a  windmill. 
The  landscape  is  beautiful ;  the  numerous  animals 
are  true  to  life;  and  the  close  and  humid  atmos- 
phere of  a  shady  place  is  marvellously  expressed. 

Adriaen  van  der  Velde's  Farm  is  a  true  and 
beautiful  combination  of  landscape  and  animals. 
His  more  famous  work,  the  Summer  Morning, 
challenges  Paul  Potter. 

"  In  the  Summer  Morning  the  colour  is  of  delicious 
harmony.  That  meadow,  still  wet  with  dew,  in  which 
sheep  and  horses  are  grazing  in  freedom,  that  low  and 
tranquil  horizon  dominated  by  a  few  dwellings  under  a 
clump  of  trees,  those  pools  whose  still  waters  mirror  a 
warm  and  limpid  sky, — all  that  landscape,  so  simple,  so 
frankly  Dutch,  gradually  penetrates  you  with  its  benefi- 
cent serenity,  its  sweet  and  intimate  poetry." — (E.  M.) 

Philips  Koninck's  landscape  at  the  Mouth  of 
the  Maas,  with  its  flat  meadows  and  canals,  shows 
plainly  the  influence  of  Rembrandt  in  its  deep  col- 
ours and  dark  shadows. 

The  painter  of  winter  scenes,  moonlit  land- 
scapes, and  conflagrations — Aert  van  der  Neer 
— may  be  studied  in  several  typical  works.  The 
Winter  Scene,  a  beautifully  composed  picture, 
with  a  town  in  the  distance,  shows  people  walk- 
ing, skating,  sleighing  and  playing  golf  on  the 
ice.  All  the  effects  of  snow  and  ice  are  brought 
out  with  much  charm.  The  Moonlight  Land- 
scape is  a  tender  and  delightful  picture,  showing 
a  canal,  a  village  street  and  trees,  a  windmill 
and  hamlet  in  the  distance. 

A  Calm  Sea,  by  Jan  van  de  Capelle,  is  a  magi- 
cal work.  The  quiet  waves,  the  boats,  and  the 
distant  green  island  are  serene  in  the  warm  even- 


232  THE   BERLIN   GALLERY 

ing  light.  The  reflection  of  the  sky  in  the  glassy 
water  is  accomplished  with  perfect  skill. 

A  picture  that  encloses  a  large  space  of  country 
in  small  compass  is  a  Woody  Landscape  by  Hob- 
bema.  A  group  of  oak  trees  stands  on  the  right ; 
on  the  left,  in  the  far  distance,  a  windmill  and  a 
church  are  seen  in  the  full  sunshine. 

It  is  interesting  to  compare  this  with  Ruys- 
dael's  Oak  Forest,  a  picture  of  great  poetic  feel- 
ing, where  under  the  dark  oaks  a  pond  sleeps 
in  the  shadow  with  water  lilies  blooming  on  its 
dark  waters. 

Another  famous  example  is  his  View  of  Over- 
veen  from  the  Dunes. 

"  This  is  Ruysdael's  masterpiece  as  regards  atmos- 
pheric effects.  Across  the  dark  dunes  in  the  foreground 
the  eye  falls  on  meadows  and  fields  to  the  middle  dis- 
tance, where  amidst  trees  and  bushes  lies  the  little  vil- 
lage of  Overveen  with  its  bleaching  ground;  still  farther 
in  the  distance,  Amsterdam,  with  its  towers,  and  a  por- 
tion of  Haarlem  are  visible.  The  sky  is  filled  with  white 
clouds,  and  beneath  it  the  earth  lies  in  shade  and  sun- 
light."—(R.  M.) 

One  of  Ruysdael's  best  marines  is  the  Stormy 
Sea. 

"  In  the  foreground  of  this  little  picture  is  a  foam- 
bespattered  pile-work  against  which  the  little  waves  are 
breaking;  towards  it  a  boat  is  speeding,  her  sails  black 
against  the  sky;  in  the  far  distance  on  the  left  is  a  strip 
of  coast  with  a  church  tower.  The  sky  is  filled  with 
heavy  clouds  that  throw  dark  shadows  upon  the  water. 
A  larger  work  shows  dark  masses  of  cloud  above  a 
stormy  sea.  One  ray  of  sunlight  falls  upon  a  boat  with 
its  swelling  red  brown  sail ;  and  behind  is  a  Dutch  man- 
of-war  at  anchor  and  giving  a  salvo. 

"  Not  one  of  the  recognised  marine  painters  has  ever 
depicted  the  poetry  of  the  sea  with  such  force."— (R. 
M.) 


MADONNA  WITH  THE   FINCH— Durer 
BERLIN 


THE  SISTINE  MADONNA— Raphael 

DRESDEN 


BERLIN  233 

Jacomo  Victor's  picture  of  Birds  in  a  Park  owes 
half  its  charm  to  Ruysdael,  who  supplied  the  land- 
scape, as  he  frequently  did  for  other  painters. 

In  Nicholas  Poussin's  Roman  Campagna  near 
Aqua  Acetosa  Saint  Matthew  is  writing  his 
Gospel  at  the  Angel's  dictation.  The  landscape  is 
beautifully  treated;  and  the  reflection  of  the  sky 
in  the  shining  river  and  the  warm  brown  tone  of 
the  Campagna  make  a  beautiful  harmony. 

Gaspard  Dnghet  (Poussin)  has  also  a  Roman 
Landscape  with  mountains  rising  in  terrace  form 
and  illuminated  with  sunshine,  and  giving  a  view 
of  the  Campagna  through  the  trees. 

Watteau  is  exhibited  by  four  exquisite  works. 
The  French  Comedy  and  The  Italian  Comedy, 
better  known  as  Love  in  the  French  Theatre 
and  Love  in  the  Italian  Theatre,  show  the 
familiar  types  of  masques  and  players — Colum- 
bines, Harlequins,  Pierrots,  etc.  The  other  two 
works — An  Open  Air  Party  and  an  Al  Fresco 
Breakfast — repay  study.  In  the  former 

"  his  theme  is  love  and  joy — the  great  theme  of  all  time. 
At  the  close  of  evening,  when  the  sun  is  setting  and  the 
whole  enchantment  of  Nature  is  felt  as  the  night  ad- 
vances with  quiet  step,  an  aristocratic  party  has  assem- 
bled in  the  Park  for  an  excursion  into  a  romantic  country. 
Some  of  them  sing  and  dance,  others  flirt  and  whisper, 
here  a  cavalier  plays  a  lute  and  here  sits  a  lady  so  ab- 
sorbed in  her  note-book  that  she  sees  and  hears  nothing 
that  is  going  on  around  her ;  and  at  last  we  ourselves  are 
drawn  into  this  mood  and  lose  ourselves  in  contempla- 
tion. We  enjoy  the  lovely  colour  and  scent  of  the  rose, 
we  hear  the  nightingale  flute  and  the  cooing  of  the  dove, 
and  the  light  rustling  of  the  branches,  as  if  to  cover 
the  soft  whispers  of  love  and  attract  the  attention  of  the 
intruding  wanderer.  With  sketchy  handling,  the  tech- 
nique is  extremely  clever,  quite  like  a  masterpiece  thrown 


234  THE   BERLIN   GALLERY 

off  in   a   happy   moment,   as,   of   all   the   painters   of  the 
Eighteenth  Century,  Watteau  alone  could  do. 

"  The  composition  consists  of  only  four  figures,  two 
seated  ladies,  and  one  sitting  and  one  standing  cavalier. 
The  elegance  of  the  movements,  the  grace  of  the  ar- 
rangement, the  complete  rendering  of  the  figures  of  the 
company  of  that  day,  the  wonderful  expression  of  the 
faces,  the  life-like  drawing  of  the  hands,  are  all  in  com- 
plete union  with  the  entire  charm  of  colour  of  the  art- 
ist."—(R.  M.) 

Mignard's  Marie  Mancini,  with  her  black  hair, 
pearls  and  flashing  eyes,  is  full  of  the  fire  of  life. 

Pesne's  Frederick  the  Great,  at  the  age  of 
twenty-seven,  and  Chodowiecki's  Dr.  Herz,  an 
old,  slightly  corpulent  and  beardless  man  seated 
in  a  green  arm-chair,  are  fine  examples  of  these 
Eighteenth-Century  masters. 


ROYAL  PICTURE  GALLERY 
DRESDEN 

THE  gallery,  one  of  the  finest  in  the  world,  owes 
its  pre-eminence  chiefly  to  Augustus  III.  (1733- 
1763).  It  had  its  origin  in  the  Kunst  Kammer 
collected  by  the  Elector  Augustus  I.  in  his  palace 
in  Dresden  as  early  as  1560.  In  1722,  the  pic- 
tures were  taken  from  this  and  other  palaces  and 
castles  in  Saxony  to  form  a  "  Gallery  "  which  was 
housed  in  the  Electoral  Stallgeb'dude  in  the 
Jildenhof.  In  1746,  the  Modena  Gallery  arrived, 
a  hundred  pictures  owned  by  Duke  Francesco  Este- 
Modena.  Augustus  III.  also  acquired  the  Sistine 
.Madonna,  Carreggio's  Reading  Magdalen,  and 
Holbein's  Madonna  of  the  Meier  Family. 

In  1741,  268  pictures  were  obtained  from  Count 
Wallenstein's  Collection  from  the  Palace  at  Dux; 
in  1748,  69  were  brought  from  the  Royal  Gallery 
of  Prague ;  Dutch  and  Flemish  works  were  ac- 
quired in  1742,  1763,  and  1854,  from  the  Lormier 
Collection  of  The  Hague  and  from  the  Carignan 
and  Bouexiere  Collections ;  seven  pictures  from  the 
Dubreuil  Collection  (Paris)  in  1742;  and  valuable 
Italian  works  from  Professor  Steinla's  Collection 
in  1857,  and  Samuel  Woodburne's  of  London  in 
1860.  Fifteen  Spanish  pictures,  including  Mu- 
rillo's  St.  Rodriguez  the  Martyr,  were  acquired 
in  1853  from  Louis  Philippe's  Collection. 

The  most  famous  picture  in  this  gallery — per- 
haps in  any  gallery — is  Raphael's  Sistine  Ma- 
donna. 

235 


236        ROYAL   PICTURE   GALLERY 

"  Deep  shadows  were  veiling  from  us  the  majesty  of 
the  skies.  Suddenly  light  succeeds  the  obscurity,  and  the 
^  Infant  Jesus  and  Mary  appear  surrounded  by  a  bright- 
V*'  ness  so  intense  that  the  eyes  can  scarcely  bear  it.  Be- 
tween two  green  curtains  drawn  to  either  side  of  the  pic- 
ture, amid  an  aureole  of  innumerable  cherubim,  the  Vir- 
gin is  seen  standing  upon  the  clouds,  with  her  son  in  her 
arms,  showing  him  to  the  world  as  its  Redeemer  and 
Sovereign  Judge.  Lower  down,  St.  Sixtus  and  St.  Bar- 
bara are  kneeling  on  the  clouds  on  either  side.  Nothing 
is  visible  of  the  earth,  but  it  is  divined  by  the  gestures 
and  glances  of  the  two  saints,  who  are  pointing  to  the 
multitude  for  whom  they  are  imploring  the  divine  mercy. 
Two  angels  are  leaning  on  a  kind  of  balustrade  whose 
horizontal  line  forms  a  solid  plane  at  the  base  of  the 
composition.  Nothing  could  be  more  elementary  than  the 
idea  of  such  a  picture;  the  ancient  symmetry  and  the 
most  rigid  parallelism  are  scrupulously  observed.  The 
principal  figure  is  the  Infant  Jesus.  He  is  no  longer  the 
graceful  Bambino  tHat  we  have  so  often  seen  in  the 
arms  of  Raphael's  Madonnas,  gentle  and  encouraging  to 
the  eyes  of  mankind ;  it  is  the  God  himself,  it  is  the  God 
i  qf  Tgstice  and  of  the  Last  Pay.  In  the  most  humble 
'  state  of  our  flesh  beneath  the  veil  of  infancy,  we  see  the 
I  terrifying  splendour  of  infinite  majesty  in  this  picture. 
The  Infant  Jesus  seems  to  recoil  from  the  spectacle  of 
human  shame;  he  lovingly  presses  against  the  Virgin's 
breast,  softly  rests  his  forehead  against  his  Mother's 
cheek,  and  darts  towards  the  world  one  of  those  flaming 
and  terrible  glances  at  which,  it  is  said,  everything  in 
heaven,  on  earth,  and  in  hell  trembles.  His  disordered 
hair  stands  upright  and  quivers  as  in  the  breath  of  the 
tempest,  and  sombre  clouds  pass  across  the  widely  mod- 
elled forehead;  the  brows  are  frowning,  the  pupils  dilate 
and  the  flame  is  ready  to  dart  forth ;  the  eyes,  profound 
and  terrible,  are  preparing  to  flash  with  lightning;  they 
still  withhold  it,  but  we  fed  that  it  may  break  forth,  and 
we  tremble.  This  glance  is  truly  splendid ;  it  fascinates 
you,  attracts  you,"  and,  at  the  same  time,  fills  you  with 
terror.  The  Infant  Jesus  assumes  a  formidable  aspect ; 
we  recognize  in  him  the  Sovereign  Judge;  his  power  is 
infinite  and  one  act  of  his  will  be  sufficient  to  "condemn 
or  absolve.  The  Virgin  remains  calm  and  serene  beside 


DRESDEN  237 

her  enraged  son,  and  reassures  our  heart  also  with  her 
confidence.     If  she  presents  the  Son  of  God  to  the  world 
tinder  a  terrifying  aspect,  at  the   same   time  she  presses 
him  so  tenderly  against  her  breast,  and  her  features,  un- 
der the  splendour  of  the  divine  radiance,  shine  with  such 
purity   that    we    feel   the   flame    that    purifies   all    passing 
within  ourselves.      The   Virgin  of  St.    Sixtus,  like  every 
Madonna,  wears  a  red  robe  and  a  white  mantle;  and  Art 
has    never    done  greater   things    with    drapery   with    such 
simple  elements.     A  long  scarf  of  the  same  colour  as  the 
veil,  but  tinted  with  bistre,  is  placed  on  the  crown  of  the 
head,  and,  distending  like  a  sail  above  the  left  shoulder, 
returns  to  the  left  hand  to  serve  as  a  support  for  the  In- 
fant,  and   runs   along  the  body  of  Jesus,   who   grasps  it 
with  his  right  hand.      The  Virgin's  head   appears  in  full 
illumination  without  any  artifice  and  glows  solely  with  its 
own    beauty.      This    Virgin,    in    which    Raphael    has    sur- 
passed himself,  was  painted  in  a  moment  of  veritable  ex- 
altation of  genius.     But  everything  in  this  picture  is  food 
for  admiration,  even  the  atmosphere  that  envelops  it  and 
those   innumerable  and   endless   legions   of  cherubim   that 
gravitate  around  the  Virgin  and  the  Word  of  God.     The  v 
aureole  that  encircles  the  divine  group  shows  nothing  at  v 
first   but   dazzling   and   golden   light ;    then,   as   it   recedes  v 
from  the  centre  this  light  gradually  pales  and  insensibly  v 
merges  from  the  mmost  intense  gold  into  the  purest  blue,  y 
and  is  filled  with  those  heads,  chaste,  innocent,  and  fervent,  v 
that  spring  beneath  the  brush  of  Raphael  like  the  flowers  v 
at  the  breath   of   Spring.     These  aerial   creatures   throng 
to   contemplate  the   Virgin,  and  their  forms   recall  those 
radiances  in  the  shape  of  crowns  that  fill  the  Dantesque 
Paradise,  making  the  name  of  Mary  resound  with  their 
praises.     Our  eyes  and  mind  lose  themselves  in  the  im- 
mense multitude  of  these  happy  spirits. 

"  On  either  side  of  the  Virgin  kneel  St.  Sixtus  and  St. 
Barbara.  Placed  also  amid  the  clouds,  but  below  the 
Madonna,  they  are  near  the  sovereign  mediatrix,  as 
mediators  also  between  the  world  and  the  Sovereign 
Judge.  St.  Sixtus  is  seen  on  the  right  in  profile;  his 
head  is  raised  towards  the  Infant  Jesus,  his  left  hand  is 
placed  devoutly  on  his  breast,  while  his  right  is  fore- 
shortened and  points  towards  the  spectator.  It  is  im- 


238        ROYAL    PICTURE   GALLERY 

possible  to  find  a  representation  of  pontifical  sovereignty 
of  greater  fervour,  grandeur  and  truth.  He  is  praying 
with  extraordinary  fervour.  His  gesture,  so  resolute  and 
respectful,  is  in  itself  an  act  of  love  and  charity,  and  his 
very  hands,  so  true  in  drawing  and  so  bold  in  action, 
have  their  special  eloquence.  It  seems  impossible  that 
the  divine  justice  will  not  allow  itself  to  be  swayed  by 
such  intercession. 

"  St.  Barbara  is  opposite  St.  Sixtus.  Her  head  is  as 
beautiful,  youthful  and  fresh  as  the  action  of  her  whole 
figure  is  easy,  elegant  and  noble.  The  saint,  gently 

'.  bending  towards  the  earth,  seems  to  want  to  receive  our 

\  hopes  and  vows  to  bear  them  to  Heaven.  St.  Barbara's 
hair  is  arranged  with  elegance.  Her  eyes,  lowered  to- 

,;  wards  the  earth,  are  perfectly  beautiful ;  her  mouth  is  calm 
<  and  sweet ;  and  purity  shines  in  all  her  features.  Her 
shoulders  are  bare,  only  covered  with  a  veil  of  white 
gauze  which  falls  down  her  back,  passes  under  her  arm 
and  returns  to  her  breast,  where  her  left  hand  holds  it. 
Her  robe  of  violet  shading  into  a  neutral  tint,  is  only 

.'  visible  where  it  covers  her  leg;  for  a  green  mantle,  thrown 
over  it,  envelops  the  body,  only  revealing  the  arm,  the 
sleeve  of  which  is  blue  on  the  upper  arm,  yellow,  and 
slightly  puffed  at  the  shoulder,  and  yellow  also  on  the  fore 

'.  arm.    All  this  is  of  a  grand  air  and  in  exquisite  taste. 

"  Raphael,  doubtless,  had  thought  that  the  figures  of  the 
Virgin,  the  Infant  Jesus,  St.  Sixtus,  and  St.  Barbara 
would  alone  be  sufficient  for  his  picture ;  but  the  empty 
space  remaining  beneath  the  feet  of  the  Madonna  was 
too  considerable  to  be  filled  up  simply  by  clouds :  and 
therefore  he  added  that  rigid  and  horizontal  supporting 
bar  on  which  two  angels  lean  upon  their  elbows,  con- 
templating the  glory  of  the  Virgin  with  such  rapture.  In 
fact,  these  angels  seem  to  be  painted  as  an  afterthought, 
for,  laid  in  with  a  light  brush,  they  scarcely  cover  the 
clouds,  but  allow  the  underlying  pigment  to  show  through. 
"  Raphael  aimed  at  the  sublime ;  and  the  rest  was  given 
to  him  as  increase.  The  colour  is  just  what  it  should  be 
in  such  a  subject;  whilst  keeping  to  a  sweet,  calm,  and 
peaceful  scale,  it  is  resplendent  with  light,  and  we_ask 
ourselves  whether  it  is  not  the  hand  of  an  angePrather 
than  that  of  a  man  that  has  been  able  to  realise  such  a 
marvel. 


DRESDEN  239 

"  The  rirgin  of  St.  Sixtus  is  the  most  beautiful  picture 
in  the  world.  To  copy  this  Virgin  is  to  attempt  the  im- 
"possihle.  Study  it  a  hundred  times  and  a  hundred  times 
it  \vill  reveal  itself  under  a  new  aspect.  It  was  before 
this  picture,  it  is  said,  that  Correggio  cried:  'And  I 
also,  I  am  a  painter.'  " — (F.  A.  G.) 

The  Magdalen  in  the  Desert  stands  first  among 
the  small  Correggios. 

"There  are  two  kinds  of  Magdalens  in  art:  I.  the 
Repentant,  emaciated,  growing  ugly,  disfigured  by  tears 
and  penitence  at  the  end  of  her  life,  with  a  skull  in  her 
hand  or  before  her  eyes,  not  baying  had  even— like  the 
one  sculptured  in  the  Cathedral  of  Rouen—'  for  three 
times  ten  winters  any  other  vesture  than  her  long  hair,' 
according  to  Petrarch's  verse;  II.  the  Sinner,  always 
young,  always  beautiful,  always  sejjuctlve,  who  has  not 
lost  any  of  her  charms  nor  even  of  her  coquetry,  and 
with  whom  the  Book  of  Life  takes  the  place  of  the 
Death's  Head.  Our  Magdalen  belongs  to  the  latter  class. 
In  a  solitary  spot,  but  attractive  with  its  verdure  and 
rocks,  on  a  grassy  knoll  the  saint  is  stretched  out  at  full 
length,  with  her  shoulder,  her  bosom,  her  arms,  and  her 
feet  adorably  bare.  A  blue  fabric  drapes  the  rest  of  her 
body  and  forms  a  coquettish  hood  for  her  head  and 
neck.  Her  flesh  has  a  robust  elegance  of  line.  Leaning 
on  her  right  elbow,  her  hand,  half  hidden  in  her  hair, 
supports  a  charming  and  meditative  head,  while  her  other 
arm  is  slipped  under  an  open  manuscript.  Her  hair, 
long  and  blonde,  according  to  legend— which  she  loves 
and  still  cares  for  because  it  once  wiped  the  feet  of  her 
Saviour — falls  in  thick  curls,  or  strays  at  will  with  a 
premeditated  abandon.  On  the  ground,  to  her  right, 
stands  the  vase  of  perfumes  of  her  first  adoration;  to 
the  left  are  the  stones  of  her  supreme  expiation.  What 
grace  in  her  attitude!  What  beauty  of  form!  She  is 
thrown  in  with  a  rare  happiness  and  painted  with  an  ex- 
quisite delicacy  of  touch  and  tint.  The  blue  drapery  upon 
the  green  landscape  defines  her  sufficiently  without  mak- 
ing her  stand  out  too  much,  leaving  the  figure  and  the 
landscape  to  mingle  without  disturbing  each  other  in 
skilful  harmony.  All  of  this  is  in  most  finished  exeoi- 


240        ROYAL    PICTURE    GALLERY 

tion,  a  little  elaborate,  perhaps,  and  the  expression  of  the 
face  reflects  the  sweet,  sad  memory  of  the  Beloved,  whose 
Gospel  she  is  reading  just  as  one  reads  again  tender  let- 
ters of  the  past." — (A.  Gn.) 

Correggio's  Adoration  of  the  Shepherds,  known 
as  La  Notte,  is  also  of  world-wide  celebrity. 

"  Nothing  in  this  radiant  canvas  gives  you  the  idea  of 
darkness ;  dawn  is  breaking  behind  the  distant  moun- 
tains that  you  see  through  the  stable  door,  constructed  of 
frame-work  resting  upon  the  ruins  of  an  ancient  edifice : 
and  the  whole  picture  is  illuminated  by  a  supernatural 
light  that  is  emanating  from  the  body  of  the  Infant 
Jesus.  The  new-born  child  in  the  lap  of  Mary  gives  out 
such  brilliancy  that,  like  the  sun,  he  illuminates  all  the 
objects  surrounding  him.  The  Virgin's  face,  lovingly 
bending  towards  him,  receives  silvery  reflections  of  an 
ideal  transparency  and  freshness.  The  smile  of  the  happy 
mother  causes  its  rosy  line  to  wave  across  the  whiteness 
of  mother-of-pearl,  milk,  or  opal,  where  the  long  lashes 
of  lowered  eyes  are  slightly  traced  in  light  shadow. 
Touched  by  this  celestial  splendour,  the  humble  straw 
of  the  manger  shines  like  the  golden  threads  of  an  aureole. 
The  splendour  flashes  upon  the  handsome  shepherdess 
who  is  bringing  a  couple  of  turtle-doves  in  a  basket  and 
makes  a  naive  gesture  of  wonder  at  the  divine  baby;  it 
enlightens  the  young  herdsman,  who,  with  one  hand  on 
the  edge  of  the  manger  and  the  other  on  the  back  of  a 
large  dog,  raises  his  head  in  ecstasy  and  seems  to  be  con- 
templating with  a  visionary  glance  the  group  of  angels 
who  are  balancing  themselves  on  a  cloud  in  the  ceiling 
of  the  stable ;  and  finally  it  comes  up  to  that  old  shep- 
herd of  Herculean  build,  holding  a  stick  that  looks  like  a 
club  or  an  uprooted  tree,  and  who  is  scratching  his  head 
with  an  embarrassed  air  like  a  peasant  in  the  presence  of 
a  king.  One  cannot  imagine  with  what  miraculous  art 
that  light  leaving  its  peculiar  source  is  conducted,  di- 
minished and  melted  from  the  centre  to  the  edge  of  the 
picture.  All  these  figures  are  bathed  in  it  as  if  in  the  at- 
mosphere of  Paradise.  Never  did  a  colourist  play  more 
powerfully  with  such  a  difficult  problem,  and  this  is  not 
a  vain  tour  de  force,  but  it  is  the  triumphant  expression 


LA  NOTTE — Correggio 

DRESDEN 


MADONNA  DELLA  CATINA— Giulio  Romano 

DRESDEN 


DRESDEN  241 

• 

of  an  idea,  perfectly  charming,  perfectly  poetic,  and  full 
of  tenderness,  which  could  .only  belong  to  the  happy 
genius  of  Correggio.  That  feeble  little  one,  that  baby 
crying  on  the  straw  and  shedding  about  him  in  the  stable 
even  now  that  light  whose  radiance  will  illumine  the 
whole  world !  The  Virgin  is  not  astonished,  perhaps,  in- 
deed she  does  not  see  anything; — every  child  is  glorious 
to  its  mother ! — and  with  a  passionate  caress  she  makes 
a  cradle  for  him  with  her  arms,  and  presses  him  to  her 
heart. 

"  In  the  middle  distance,  Saint  Joseph  is  clutching  the 
ass  by  the  mane  to  lead  him  to  the  manger.  Farther 
away  two  young  boys  hold  the  ox  by  the  horns.  Is  it 
not  necessary  that  the  dumb  creation  should  have  these 
two  witnesses  to  the  birth  of  our  Saviour?  Good  and 
gentle  beasts  touched  dimly  in  their  souls  that  are  warm- 
ing the  child  with  their  breath !  This  familiar  and  tender 
detail  of  pure  materialism  gives  to  the  scene  an  appear- 
ance of  real  life  without  detracting  from  the  divine  side. 
Nothing  strained,  nothing  forced,  and  nothing  of  false 
grandeur,  but  everywhere  the  most  lovable  grace." — 
(T.  G.) 

The  St.  Sebastian,  painted  in  1525,  and  St. 
George,  painted  in  1530,  are  fine  examples  of 
Correggio's  best  work. 

"  In  these  pictures,  the  wealth  of  Correggio's  artistic 
power  is  displayed,  but  it  had  already  passed  all  bounds. 
The  figure  of  St.  Gimignanius,  of  which  we  have  a  side 
view  in  the  first  picture,  and  which  recedes  into  the  back- 
ground in  a  wonderful  manner,  is  very  beautiful  and  we 
are  charmed  by  the  grace  of  the  little  girl  who  nestles 
At  his  feet,  holding  the  model  of  a  church,  but  the  ecstasy 
of  the  dreaming  St.  Rochus  and  St.  Sebastian,  with  up- 
turned glance,  approaches  the  theatrical." — (A.  G.) 

"  The  St.  George  is  more  solemn  in  character  than  most 
of  Correggio's  paintings.  The  Madonna  is  represented  in 
an  architectural  inclosure,  consisting  of  a  chapel  in  the 
rich  Renaissance  style,  through  the  round  arched  en- 
trance of  which  peeps  a  sunny  landscape.  This  frame- 
work was  made  to  correspond  with  the  painted  archi- 
tecture of  the  surrounding  wall,  so  that  the  picture  pre- 


»«L 


rfju  t\$l 

• 


242        ROYAL   PICTURE    GALLERY 

• 

Sented  an  illusive  appearance.  Mary  is  depicted  seated 
with  her  Child  strongly  foreshortened  from  beneath  to 

^  above  on  a  high  throne,  of  which  the  richly  ornamented 
pedestals  only  are  risible,  and  in  such  a  manner  that  she 
appears  in  the  middle  of  the  open  arch  reflected  against 
the  bright  sky  of  the  background.  At  her  side  stands  St. 
George  in  shining  armour,  which  displays  his  powerful 

^  frame  to  full  advantage.  He  rests  one  leg  on  the  head 
of  the  dragon;  behind  him  stands  St.  Peter  the  martyr, 
turning  to  the  Virgin  and  pointing  to  the  congregation. 
In  the  right  foreground  is  the  youthful  St.  John  the 
L.Baptisr,  covered  with  a  fur  cloak,  and  behind  him  the 
aged  St.  Geminianus  in  the  act  of  receiving  the  model  of 
a  church  from  off  the  shoulders  of  a  boy  angel.  The 
naked  Infant  Jesus  stretches  out  His  little  arms  long- 
ingly for  this  model.  The  joyous  angels  and  genii  are 
this  time  represented  on  the  ground.  Two  of  them  are  in 
front  frolicking  and  laughing;  a  third  tries  on  the  gi- 
gantic helmet  of  St.  George,  while  a  fourth  endeavours  to 
draw  his  sword.  Correggio  did  not  choose,  moreover,  to 
miss  his  representations  of  frolicsome  children  up  above, 
so  he  brings  in  two  statue-like  genii  as  if  made  of  stone 
in  the  corners  of  the  architectural  framing.  A  similar 
statue  of  a  genius  is  discernable  in  the  pedestal  of  the 
throne.  The  manner  in  which  he  combines  life  with  the 
architectural  decorations  is  very  charming,  and  the  whole 
H  invested  with  a  rich  festive  character  which  is  not 
common  in  Correggio's  altar-pieces,  which  are  usually 
represented  in  an  idyllic  landscape  setting.  The  playful 
boy^  genii  are  truly  beautiful.  The  play  of  chiaroscuro 
upon  their  delicate  bodies,  "the  light  shades  and  half-tones 
are  truly  charming.  How  the  soft  effects  of  light  spirit- 
ualise the  appearance  of  the  flesh!  The  maidenly  head  of 
Mary  turned  sideways  is  also  very  graceful,  although  the 
foreshortening  gives  a  strange  look  of  rotundity  to  the 
figure."—  (J.  M.) 

The  three  Virgins  in  Glory  are  distinguished 
by  the  name  of  the  principal  saint  in  the  Celestial 
Court:  —  respectively  St.  George,  St.  Sebastian 
and  St.  Francis.  The  latter  is  the  greatest  both 
in  subject  and  dimensions. 


DRESDEN  243 

"  It  would  be  plainly  superfluous  to  say  that  this  pow- 
erful composition  is  of  the  most  noble,  strong  and 
grandiose  style,  and  that  in  its  arrangement  it  recalls  the 
simple  and  noble  style  of  Fra  Bartolommeo;  but  what 
raises  Correggio  in  this  case,  even  above  the  illustrious 
Florentine  monk,  is  the  colour,  and  the  marvellous  brush- 
work."— (L.  V.) 


A  portrait  of  a  Man  in  Black  is  supposed  to  be 
that  of  Correggio's  physician. 

Paul  Veronese  has  three  splendid  works  here 
that  command  general  admiration :  The  Finding 
of  Moses;  the  Adoration  of  the  Kings;  and  the 
Marriage  at  Cana. 

"  The  master  can  best  be  studied  in  the  Dresden  Gal- 
lery. There,  the  king's  daughter  at  the  Finding  of 
Moses  appears  as  an  Italian  princess,  in  gorgeous  ap- 
parel, surrounded  by  her  court,  her  ladies,  a  Moorish 
dwarf  leading  a  dog,  and  halberdiers.  Of  equal  beauty 
are  the  Adoration  of  the  Kings,  which  is  especially  en- 
chanting in  its  colouring;  £he  Madonna,  approached  by  a 
founder  with  family,  all  led  by  Faith,  Hope  and  Charity, 
a  masterly  composition  with  many  naive  and  affecting 
features ;  and  lastly,  the  Marriage  at  Cana.  He  painted 
many  pictures  on  these  and  similar  subjects  for  the  deco- 
ration of  cloistral  refectories.  Leonardo's  Last  Supper 
was  designed  for  the  same  purpose.  But  the  physiological 
characteristic  of  Leonardo,  that  depth  of  thought  by 
means  of  which  he  expressed  the  religious  element,  is 
scarcely  found  in  Paul  Veronese,  who  in  place  of  this 
does  not  arouse  any  devotion,  or  ecclesiastical  enthusiasm, 
but  rather  sensualizes  the  subject  by  his  artistic  treat- 
ment. The  pleasures  of  life  and  of  the  table  form  the 
soul  of  his  compositions,  a_nd  jthe  only  compensation  of- 
fered to  the  spiritual  element  is  the  selection  of  a  Bibli- 
cal subject  as  a  pretext  for  these  representations.  When 
sacred  personages,  or  Christ  himself,  appear  in  such  pic- 
tures, they  do  not  attract  the  gaze  and  form  the  centre  of 
the  subject:  they  are  always  noble,  but  purely  human  in 
conception,  and  taking  a  part  subordinate  to  the  general 


244        ROYAL   PICTURE   GALLERY 

whole.  Aristocrats  of  distinguished  bearing,  and  with 
the  demeanour  of  the  world,  are  seated  at  the  board,  en- 
gaged in  intimate  conversation  with  courtly  ladies,  who 
are  mostly  too  corpulent  and  voluptuous  in  their  appear- 
ance to  be  beautiful.  Servants  hurry  to  and  fro,  foot- 
soldiers  keep  watch  at  the  stairs,  pages  and  Moors  are  in 
attendance,  dogs  snap  crumbs  from  under  the  table,  beg- 
gars wait  for  alms  on  the  threshold,  women  from  amongst 
the  people  press  in  with  their  children  and  listen  behind 
the  pillars,  while,  from  the  balconies  of  grand  buildings, 
troops  of  inquisitive  spectators  gaze  down  upon  the  dis- 
tinguished company.  While  Titian  usually  attains  his  ef- 
fects of  colour  by  a  few  simple  tones,  Veronese  introduces 
magnificent  costumes  of  the  period,  Oriental  garbs,  beau- 
tiful marble  halls,  with  golden  goblets  and  table  decora- 
tions. Twilight  heightens  the  effect  and  a  soft  silvery 
light  takes  the  place  of  golden  sunshine.  A  previously 
unknown  severe  ecclesiasticism  took  offence  at  this  method 
of  handling  and  Paul  had  to  report  himself  before  the  In- 
quisition on  account  of  one  of  his  feasts  at  the  Phar- 
isee's house  (see  p.  337).  He  was  accused  of  disrespect 
to  the  Saviour  in  the  introduction  of  dwarfs,  foreigners, 
buffoons,  dogs,  arms  and  such  extravagances  into  the 
scenes.  Paul  appealed  with  courageous  determination  to 
the  license  permitted  to  the  artist,  and  he  made  no  alter- 
ation in  style  throughout  his  life." — (A.  W.) 

Several  times  Titian  painted  Lavinia.  Here 
she  holds  a  fan;  in  Berlin  a  bowl  of  fruit;  and  in 
Madrid  she  appears  as  Salome. 

"  From  the  first  stroke  to  the  last  this  beautiful  piece 
is  the  work  of  the  master.  His  is  the  brilliant  flesh 
brought  up  to  a  rosy  carnation  by  wondrous  kneading  of 
copious  pigment;  his  the  contours  formed  by  texture  and 
not  defined  by  outline;  his  again  the  mixture  of  sharp 
and  blurred  touches,  the  delicate  modelling  in  dazzling 
light,  the  soft  glazing,  cherry  lip,  and  sparkling  eye. 
Such  a  charming  vision  as  this  was  well  fitted  to  twine 
itself  round  a  father's  heart. 

"  Lavinia's  hair  ia  yellow  and  strewed  with  pearls, 
showing  a  pretty  wave  and  irrepressible  curls  in  stray 
locks  on  the  forehead.  Earrings,  and  a  necklace  of  pearls 


DRESDEN  245 

glitter  with  grey  reflections  on  a  skin  incomparably  fair. 
The  gauze  on  the  shoulders  is  light  as  air,  and  contrasts 
with  the  stiff  richness  of  a  white  damask  silk  dress  and 
skirt,  the  folds  of  which  heave  and  sink  in  shallow  pro- 
jections and  depressions,  touched  in  tender  scales  of  yel- 
low or  ashen  white.  The  left  hand,  with  its  bracelet  of 
pearls,  hangs  gracefully  as  it  tucks  up  the  train  of  the 
gown,  whilst  the  right  is  raised  no  higher  than  the  waist, 
to  wave  the  stiff  plaited  leaf  of  a  palmetto  fan.  Without 
any  mechanical  strapping  or  adjustment  of  shape — nay, 
with  something  formless  in  the  stiff  span  and  lacing  of 
the  bodice — the  figure  is  the  very  reverse  of  supple,  and 
yet  it  moves  with  grace,  shows  youth  and  life  and  smiling 
contentment,  and  a  stirring  grandeur  of  carriage  com- 
bined with  lady-like  modesty." — (C.  and  C.) 

"  In  the  strongest  contrast  to  the  conscious  allurement 
of  the  Lavinia  with  a  Dish  of  Fruit  in  Berlin  (see  p. 
220)  is  the  demure  Lavinia  as  a  Bride,  here.  In  this,  she 
wears  a  costume  of  warm  white  satin  and  a  splendid 
necklace  and  earrings  of  pearls.  Morelli  has  pointed  out 
that  the  fan,  in  the  form  of  a  little  flag  which  she  holds, 
was  only  used  in  Venice  by  newly-betrothed  ladies ;  and 
this  fixes  the  time  as  1555,  the  date  of  the  marriage  con- 
tract. The  execution  is  beyond  all  comparison  finer  here 
the  colour  more  transparent  in  its  warmth,  than  in  the 
more  celebrated  Berlin  piece.  Second  to  none  as  a  work 
of  art — indeed  more  striking  than  any  in  the  naive  and 
fearless  truth  of  the  rendering — is  the  Lavinia  Sarcinelli 
as  a  Matron.  Though  the  demure,  bright-eyed  maiden 
has  grown  into  a  self-possessed  Venetian  dame  of  por- 
tentous dimensions,  Sarcinelli's  spouse  is  still  fresh  and 
can  not  be  more  than  three  and  thirty.  This  would  fix 
the  date  of  the  picture  at  about  1565."— (C  P.) 

The  magnificent  Portrait  of  a  Man  presents  a 
"  Venetian  gentleman  in  his  usual  habit,  but  bearing  a 
palm  branch  such  as  we  associate  with  saints  who  have 
endured  martyrdom.  Strangely  sombre  and  melancholy 
in  its  very  reserve  is  this  sensitive  face,  and  the  tone  of 
the  landscape  echoes  the  pathetic  note  of  disquiet.  Like 
the  Knight  of  Malta  in  the  Prado  (see  p.  259)  the  ex- 
pression given  is  that  of  a  man  who  has  withdrawn  him- 


246        ROYAL   PICTURE   GALLERY 

self  in  his  time  of  fullest  physical  vigour  from  the  pomps 
and  vanities  of  the  world,  and  sadly  concentrates  his 
thoughts  on  matters  of  higher  import." — (C.  P.) 

The  Virgin  and  Child  with  Four  Saints  belongs 
to  the  close  of  Titian's  first  period  of  maturity. 

"  The  type  of  the  Madonna  is  still  very  similar  to  that 
in  the  Madonna  of  the  Cherries.  In  both  instances  we 
have  the  Giorgionesque  conception  stripped  of  a  little  of 
its  poetic  glamour,  but  retaining  unabashed  its  splendid 
sensuousness,  which  is  thus  made  markedly  to  stand 
out."— (C.  P.) 

"  His  Madonnas  and  Holy  Families  show  the  idyllic 
character  prevalent  in  the  Venetian  school — maternal  joy, 
childish  simplicity  and  a  quiet  contented  existence  are  de- 
picted. The  most  attractive  of  these  subjects  at  Dresden 
is  in  a  more  subdued  style.  Here  the  Madonna  receives 
homage,  and  the  distinguished  lady  who  advances  to- 
wards her  as  the  holy  Magdalen  forms  an  imposing  con- 
trast to  the  finished  heads  of  the  men  around,  represented 
as  saints." — (A.  G.) 

The  Tribute  Money  ranks  high  among  the 
works  of  this  master.  It 

"  bears  witness  to  Titian's  power  in  the  treatment  of  re- 
ligious subjects.  Here  we  are  surrounded  by  no  atmos- 
phere of  devotion  and  miracle,  but  the  most  elevated 
nobility  of  which  nature  is  capable  is  embodied  in  this 
Christ;  and  the  inward  victory  of  this  noble,  but  mild 
nature,  over  human  narrowness  and  vulgarity,  is  the 
spiritual  meaning  conveyed  by  this  simple  but  impressive 
work.  Two  heads  and  two  hands  suffice  to  represent 
this  profound  physiological  situation,  whilst  gentle  grada- 
tions of  colour  unfold  a  glorious  harmony." — (A.  G.) 

Of  Tintoret  look  at  Virgin  of  the  Crescent, 
where  the  Virgin  and  Child,  surrounded  by  angels 
and  enthroned  in  a  nimbus  on  a  half-moon,  are 
adored  by  St.  Barbara,  St.  Catherine,  John,  Chrys- 
ostom  and  Augustine.  Others  of  his  to  be 
studied  are:  The  Muses  and  Graces  on  Par- 


DRESDEN  247 

nassus,  with  Apollo  above  them;  Six  Women 
with  Musical  Instruments;  Christ  and  the  Adul- 
tress;  and  a  Man  and  Youth,  the  former  very 
grave  and  seated  in  an  arm-chair. 

The  Venus  asleep  in  a  landscape,  formerly 
given  to  Titian,  is  now  attributed  to  Giorgione 
(by  the  identification  of  Signer  Morelli). 

"  No  artist  of  any  time  has  exceeded  the  exquisite 
beauty  of  outline  and  nobility  of  conception  in  this  lovely 
figure,  which,  notwithstanding  many  and  injudicious  res- 
torations, still  preserves  much  of  its  original  brilliancy 
and  transparency  of  colour.  From  it  Titian,  Palma  Vec- 
chio,  and  other  masters  took  their  well-known  reclining 
Venus  and  other  nude  women.  But  no  one  will  hesitate 
to  acknowledge  the  superiority  of  the  original  to  the 
copies  and  imitations — the  one  of  the  utmost  purity  and 
refinement,  the  others  realistic  and  sensual." — (A.  H.  L.) 

Palma  Vecchio's  Venus  is  a  late  work. 

"  Venus  lying  on  white  drapery  is  in  his  blonde  manner, 
a  naked  woman,  finely  painted,  but  completely  wanting  in 
the  purity  and  refinement  of  the  sleeping  Venus  by 
Giorgione  in  the  same  room." — (A.  H.  L.) 

Jacob  Saluting  and  Embracing  Rachel  is  a 
tender  idyl, 

"  I  do  not  know  any  picture  by  Palma  Vecchio  where 
the  master  shows  himself  so  amiable,  so  bright  and  in 
such  poetic  mood  as  in  this  charming  idyl,  for  that  it  is 
his  work  is  clearly  shown  by  the  sturdy  and  somewhat 
heavy  figure  of  Rachel,  the  rose-pink  flesh  colours  pe- 
culiar to  his  third  or  blonde  period  (1550-1525),  and  also 
the  very  type  of  face  in  Rachel  which  agrees  with  that  of 
his  Venus  in  this  gallery  (No.  269).  And  the  sitting 
shepherd,  whose  ear  alone  would  betray  the  master,  is 
also  drawn  and  painted  in  Palma's  manner.  On  the  other 
hand,  if  we  look  at  the  beautiful,  broadly  treated  land- 
scape, with  the  herd  of  cattle,  such  a  landscape  as  no 
Flemish  painter  could  have  painted  at  that  time,  we  can- 


248        ROYAL   PICTURE    GALLERY 

not  help  seeing  in  it  a  freer  and  later  style  than  that  of 
the  Bergamese,  such  as,  for  instance,  that  of  his  talented 
pupil,  Bonifazio  Veronese.  It  seems  to  me,  therefore, 
that  Bonifazio  may  have  had  some  share  in  the  execu- 
tion of  this  charming  picture." — (G.  M.) 

The  Holy  Family  with  St.  Joseph  and  St.  Cath- 
erine is  in  his  third  manner.  The  Child  is  sitting 
in  His  mother's  lap,  and  caressing  St.  John. 

The  Madonna  and  Child,  with  John  the  Bap- 
tist and  St.  Catherine,  is  a  brilliant  work. 

"  The  Virgin  presses  the  Infant  to  her  bosom  and 
cheek  as  she  receives  a  scroll  from  the  Baptist  in  presence 
of  St.  Catherine.  There  is  so  much  loveliness  in  the  se- 
rene rapture  of  St.  Catherine,  such  sprightliness  in  the 
Child  nestling  at  its  Mother's  throat,  so  much  tender  in- 
quiry in  the  Virgin's  eye  and  a  meaning  so  earnest  in  the 
glance  of  the  Baptist,  that  we  dwell  with  pleasurable  sen- 
sation on  each  figure  of  the  group  and  wonder  at  the  har- 
mony it  creates.  We  admire  too  the  form,  substance,  and 
marble  fairness  of  the  skin,  the  brown-haired,  dark- 
eyed  types  of  the  Child  and  Mother,  the  yellow  auburn 
of  St.  Catherine,  the  muscular  swarth  of  the  Baptist,  and 
the  chords  of  blue,  red,  brown  and  green  which  vibrate  so 
sweetly  to  the  eye." — (C.  and  C.) 

In  the  Three  Sisters,  which  is  a  work  of  his 
middle  period,  the  painter's  daughter  is  supposed 
to  have  posed  for  all  three  figures. 

"  These  three  young  women  are  grouped  with  pleasing 
variety  and  artifice  in  front  of  a  very  pretty  landscape. 
There  is  hardly  a  single  peculiarity  in  the  master  remain- 
ing unrepresented :  his  melting  shapes,  his  fair  almost 
waxen  complexions,  his  fine  chiselled  features,  small  hands, 
brocades  and  slashes,  his  draperies  without  depth,  flow,  or 
winding  contour." — (C.  and  C.) 

There  are  seven  works  by  Dosso  Dossi;  and 
two  attributed  to  his  School.  No  collection  is  so 
rich  in  the  works  of  this  master  as  the  Dresden 


DRESDEN  249 

Gallery ;  indeed,  Dosso  Dossi  is  so  rare,  that,  out- 
side of  Italy,  it  is  only  in  Dresden  that  he  is  well 
represented. 

Antonello  da  Messina's  famous  Saint  Sebastian 
shows  this  Italian  painter  at  his  best. 

"  Here  we  detect  the  deep  impression  that  Mantegna's 
frescoes  in  the  Capella  degli  Eremitani  of  Padua  must 
have  made  on  Antonello.  Here  also  he  shows  himself 
a  master  of  linear  perspective.  How  livingly  and  sugges- 
tively those  small  figures  in  the  centre  and  background 
are  put  in,  and  the  sentry  who  has  gone  to  sleep,  pro- 
ducing almost  a  comic  effect !  How  delicate  the  execution, 
down  to  the  minutest  detail !  And  that  dear  little  couple 
looking  down  from  the  terrace!" — (G.  M.) 

A  Madonna  and  Child  with  the  Infant  John, 

an  early  picture  by  Leonardo,  was  once  attri- 
buted to  Lorenzo  di  Credi.  The  Child  is  sealed 
on  a  red  cushion  on  the  lap  of  His  mother,  who  is 
holding  a  grape  for  Him.  The  Infant  John  is  in 
adoration  on  the  left.  In  the  background  on  the 
left  is  a  bed,  and  on  the  right  an  open  window 
through  which  is  a  distant  view  of  cities  and 
mountains. 

"  Who  besides  Leonardo  da  Vinci,  it  may  confidently  be 
asked,  could  at  that  time  (about  1470).  have  produced  a 
picture  of  such  grandeur  of  arrangement,  such  depth  of 
feeling  and  grace,  combined  with  such  astonishing 
breadth  of  execution!  Look,  for  instance,  at  the  vase  at 
the  side  of  the  bed,  scarcely  to  be  seen  with  the  unaided 
eye;  and  at  the  wonderful  delicacy  in  the  execution  of  the 
landscape,  almost  surpassing  that  of  Van  Eyck  and 
Memling,  if  not  in  picturesqueness,  at  least  in  drawing.  It 
is,  moreover,  characterised  by  a  classic  beauty  of  ar- 
rangement, a  high  ideality  in  the  little  head  of  the  Ma- 
donna, and  a  depth  of  feeling  in  the  adoring  St.  John, 
such  as  are  rarely  to  be  found  in  the  works  of  any 
period." — (H.) 


250        ROYAL    PICTURE    GALLERY 

Signorelli's    Holy   Family   with    Angels    is    a 

circular  picture  where  the  Virgin  is  gazing  at  the 
Infant  Christ  lying  before  her  on  a  stone  which  is 
covered  with  her  mantle;  the  little  St.  John  is  em- 
bracing His  head ;  St.  Joseph  is  seated  on  the  left ; 
and  angels  are  singing  above  the  group. 

"  Signorelli's  painting  exhibits  in  a  picture  of  con- 
siderable dimensions,  that  earnest  and  solemn  character 
of  Florentine  Art  in  the  pre-Raphaelite  period,  which  is 
perfectly  shown  in  its  beautiful  and  almost  symmetrical 
arrangement,  in  the  characteristic  style  of  the  forms,  and 
especially  in  the  drapery,  as  well  as  in  the  rich  and  bril- 
liant tone  of  the  colouring  which  loses  nothing  of  its 
power  seen  even  by  the  side  of  Correggio." — (H.) 

Abraham's  Sacrifice  is  another  very  famous 
Italian  work  here.  It  was  sent  by  Andrea  del 
Sarto  to  Francis  I.  to  appease  his  anger  for 
having  misappropriated  funds.  It  is  somewhat 
theatrical,  but  its  dimensions  prove  that  size  is  not 
a  necessary  qualification  for  the  highest  style. 

"  It  has  little  of  the  simplicity  and  ferocity  demanded 
by  the  Biblical  subject,  but  if  we  merely  look  at  the  paint- 
ing, in  the  choice  of  forms,  modelling  of  the  figures,  ex- 
quisite beauty  of  the  colours,  grandeur  of  a  design  which 
for  once  has  as  much  dignity  as  delicacy,  we  can  account 
for  Vasari's  enthusiasm  for  the  work.  The  figure  of 
Isaac  is  admirable.  The  tenderness  of  the  flesh  tints  is 
marvellously  rendered.  We  can  distinguish  the  parts 
that  have  been  exposed  to  the  sun  from  those  that  gar- 
ments have  covered.  As  for  the  face  of  the  little  angel 
descending  to  stop  the  sacrifice,  its  grace  and  morbidezza 
have  never  been  excelled.  Far  away,  at  the  foot  of  the 
mountain,  in  a  pastoral  landscape,  we  see  a  servant  asleep 
beside  a  grazing  ass.  Nature  completes  the  picture." — 
(C.  B.) 

The  Marriage  of  St.  Catherine  under  a  coni- 
cal dais,  the  curtains  of  which  are  held  up  by 


DRESDEN  251 

angels,  is  an  example  of  Andrea  imitating  Era 
Bartolommeo,  very  rich  and  sfumato  in  colour. 

Another  early  Florentine  masterpiece  is  by  Fran- 
cesco Ubertino  (Bacchiacca).  It  is  called  the 
Three  Archers.  It  illustrates  an  old  Sicilian 
legend  which  tells  of  a  king,  deceived  by  his  wife, 
who  died,  leaving  three  sons  of  doubtful  legitimacy. 
The  lords  decided  to  suspend  the  corpse  from  a 
branch  and  adjudge*  the  crown  to  the  son  whose 
arrow  struck  nearest  to  the  heart  One  refused  to 
mutilate  his  father's  corpse,  preferring  to  lose  the 
crown ;  whereupon  he  was  recognized  as  the  true 
son  and  heir. 

Bronzino's  magnificent  portrait  of  the  Duchess 
Eleanor  of  Tuscany  must  not  be  overlooked. 

The  Virgin  of  the  Rose,  by  F.  Mazzuoli  (Par- 
megianino),  is  famous  for  its  beauty  and  its 
strange  history. 

"  The  Infant  Jesus  rests  one  hand  on  a  terrestrial 
globe,  and  holds  a  rose  in  the  other.  The  Virgin,  whose 
head  is  very  graceful,  wears  a  robe  with  pale  yellow, 
gauze  sleeves.  The  flesh  tints  are  very  delicate ;  and  the 
hair  is  ravishingly  rendered.  This  picture  was  originally 
intended  for  Aretino,  who  was  more  deeply  devoted  to 
Venus  than  the  Virgin.  Notwithstanding  the  care  taken 
by  the  painter  to  destroy  the  profane  character  of  the 
first  idea  (Venus  and  Cupid),  we  still  see  the  traces  of 
his  repentance.  For  example,  below  the  top  coat  of  paint 
we  can  discover  the  bracelets  worn  by  the  goddess,  and 
the  wings  on  the  shoulders  of  Love." — (C.  B.) 

Francia's  Baptism  of  Christ  (dated  1509)  is  a 
notable  late  work.  Hampton  Court  has  an  earlier 
picture  of  the  same  subject. 

"  The  faces  have  acquired  that  grace  and  sweetness 
that  Francia  was  so  well  able  to  produce ;  the  draperies 
lack  the  crumpled  metallic  folds  that  mark  the  nello 


252        ROYAL   PICTURE   GALLERY 

stage;  the  bushy  trees  contrast  with  the  finer  ones  in  the 
regular  fashion;  and  the  effect  of  the  light  on  the  water, 
which  is  so  marked  a  characteristic  in  the  Hampton  Court 
picture,  in  this  one  has  assumed  an  even  greater  import- 
ance, and  is  treated  with  much  skill  and  effect."— (G. 
C.  W.) 

Francia's  Adoration  of  the  Magi  has  many  of 
Raphael's  characteristics. 

"  The  very  arrangement  of  the  picture  is  Raphaelesque, 
and  the  drawing  of  the  horse,  and  the  attitude  of  the  Holy 
Family  recall  the  Umbrian  influence,  even  if  the  landscape 
were  not  there  to  proclaim  loudly  the  same  origin.  The 
love  of  detail  is,  however,  to  be  seen  in  this  work  as  in  all 
the  rest.  Francia  painted  the  golden  gifts,  the  necklaces  of 
the  Magi,  the  ornaments  of  the  servants  and  the  jewels  in 
their  turbans  as  a  goldsmith  enamoured  of  his  craft  would 
do,  and  yet  with  it  all  is  so  careful  never  to  allow  mere 
ornament  to  usurp  a  place  that  does  not  belong  to  it,  but 
keeps  it  under  restraint  in  the  most  judicious  manner." — 
(G.  C.  W.) 

David  and  Bathsheba  is  another  famous  Flor- 
entine masterpiece  by  Bigio. 

"  Francia  Bigio  was  an  ardent  worker ;  he  always  had 
a  live  model  in  his  studio  after  which  he  studied  the  laws 
of  form  and  the  reason  of  attitude.  Sometimes  he  treated 
religious  subjects  in  which  he  could  utilize  his  long 
studies  in  the  nude.  His  last  work  (David  and  Bathsheba) 
belongs  to  this  order  of  ideas :  in  this  painting  he  has 
striven  for  grace.  Vasari  considered  it  too  '  precieuse ' 
and  too  laboured." — (P.  M.) 

The  Virgin  and  Child  accompanied  by 
Joachim,  Anna  and  the  youthful  Baptist  is  a  fine 
example  of  Mantegna's  late  work. 

Ercole  Roberti  has  the  Betrayal  of  Christ, 
and  Christ  Led  away  to  be  Crucified,  two  parts 


DRESDEN  253 

of  an  altar-piece  containing  numerous  figures  skil- 
fully grouped,  and  of  great  variety  of  expression. 

"  In  these  pathetic  compositions  of  very  careful  execu- 
tion the  imitation  of  Mantegna's  style  and  procedure  is 
manifest,  but  without  any  betrayal  of  Ferrarese  traditions. 
Some  analogies  with  Giovanni  Bellini's  early  pictures  are 
also  noticeable.  Foreshortenings  of  rare  boldness  oc- 
cur."—(G.  G.) 

Garofalo's  Apparition  of  the  Virgin  to  St. 
Bruno,  a  very  large  picture, 

"  may  be.  considered  as  the  best  work  of  this  painter,  whose 
almost  constant  custom  was.  to  paint  small  figures.  In 
this  painting  he  displays  his  graceful  and  elegant,  as 
well  as  firm,  style,  which,  even  when  confined  within  nar- 
row limits,  rises  to' grandeur." — (L.  V.) 

The  Annunciation  by  Cossa  is  typical  of  his 
style.  Here  we  see  the  thick  waving  folds  of  the 
Virgin's  dress  and  mantle,  and  the  shape  of  the 
hand  with  the  broad  fingers. 

Bartolommeo  Ramenghi  (called  Bagnacavallo) 
has  a  grand  Virgin  and  Child  Throned  in  Clouds. 

"At  the  bottom  of  the  picture,  four  grand  figures — SS. 
Geminianus,  Peter,  Paul,  and  Anthony  of  Padua — con- 
ceived and  designed  in  the  taste  of  Raphael,  present  a 
nobility  of  attitude  and  beauty  of  expression  worthy  of 
the  master  who  inspired  them.  The  colour  of  this  great 
picture  is  intense,  profound  and  harmonious." — (C.  B.) 

La  Madonna  della  Catina  is  a  genuine  and 
very  characteristic  work  of  Giulio  Romano. 

"  The  Virgin  is  preparing  to  wash  the  Child  who  is 
standing  in  a  basin,  while  the  little  St.  John  playfully 
pours  in  the  water.  The  picture  has  thus  a  familiar  do- 
mestic character.  It  is  beautifully  drawn  and  cleverly 
painted."— (A.  H,  L.) 


254        ROYAL    PICTURE    GALLERY 

The  Lute  Player,  by  Annibale  Carracci,  is  a 
portrait  of  the  celebrated  actor,  Giovanni  Ga- 
brielle,  named  II  Siello,  or  Mascarone. 

Guido  Reni's  Ninus  and  Semiramis,  one  of  his 
best  works,  was  once  known  as  Solomon  and  the 
Queen  of  Sheba.  Here  also  hangs  his  famous 
Christ  Crowned  with  Thorns,  presented  by  In- 
nocent XII.  to  Augustus  II. 

"  Ninus  and  Semiramis  Sharing  the  Throne,  a  Virgin 
in  Glory  Adored  by  Saints,  and  a  Christian  Allegory,  in 
which  Jesus,  between  Adam  and  Eve  and  preceded  by  an 
angel  bearing  a  displayed  banner,  symbolically  represents 
the  object  of  His  divine  mission,  the  salvation  of  man- 
kind cleansed  from  original  sin,  are  three  works  of  the 
most  beautiful  colour  and  grandest  style  that  Guido  ever 
attained."— (L.  V.) 

The  Card  Sharpers,  by  Caravaggio,  represent- 
ing a  young  soldier  cheated  by  two  older  compan- 
ions, is  one  of  his  most  popular  compositions. 

Of  several  characteristic  works  by  his  pupil, 
Ribera,  we  particularly  note  St.  Mary  of  Egypt, 
kneeling  in  prayer  before  her  grave,  and  an  angel 
investing  her  with  her  shroud.  His  Diogenes 
with  a  Lantern  is  supposed  to  be  a  portrait  of 
himself. 

There  are  two  versions  of  the  great  Holbein 
Madonna:  one  in  this  gallery;  and  one  in  Darm- 
stadt. 

"  The  Madonna  of  the  Burgomaster  Meyer  was  long 
considered  the  original ;  but  in  1871  it  was  ascertained  that 
it  was  a  copy  of  the  original,  owned  by  the  Princess 
Charles  of  Hesse.  The  patron  of  the  work  was  the  same 
Jacobo  Meyer  of  Hasen,  whom  Holbein  had  painted  with 
his  wife  in  1516. 

"  The  Dresden  picture,  the  product  of  a  later  period, 
shows  a  difference  in  the  proportions;  apparently  the 


DRESDEN  255 

copyist  considered  the  arrangement  of  the  figures  and  the 
architectural  background  too  compressed,  and  added 
height  to  the  picture,  thus  giving  an  undeniable  increase 
of  freedom  in  the  design,  whilst  not  detracting  from  the 
general  harmony  of  the  composition.  In  one  respect  the 
copy  has  an  advantage  over  the  original ;  in  the  latter 
the  head  of  the  Madonna  is  over-painted,  and  therefore 
falls  short  of  the  perfect  womanly  grace  and  beauty  of 
the  Dresden  copy." — (A.  W.) 

"  When  one  has  seen  this  picture  in  the  same  gallery 
in  which  shines  the  Sistine  Madonna,  it  is  as  impossible 
not  to  remember  Holbein  as  to  forget  Raphael.  In  pres- 
ence with  these  two  masterpieces,  we  are  able  to  measure 
the  entire  distance  there  was  in  the  Sixteenth  Century  be- 
tween religious  painting  as  conceived  by  the  Southern  and 
Roman  Catholic  genius  and  Christian  Art  as  felt  by  the 
genius  of  the  North,  already  Protestant." — (C.  B.) 

Among  Holbein's  portraits  there  is  one  of  Mr. 
Thomas  Godsalve  of  Norwich  and  his  son  John, 
both  sitting  at  a  table.  A  letter  which  the  father 
has  just  written  bears  his  name  and  age  as 
forty-seven.  The  father  and  son  look  much  alike, 
and  are  good  types  of  English  gentlemen.  A 
greater  work  is  the  Morett  Portrait. 

"  The  most  beautiful  portrait  from  Holbein's  hand  in 
Germany  is  that  of  the  goldsmith  Morett :  a  stately  figure, 
the  features  expressive  of  dignified  repose,  and  the  white 
beard,  placed  in  relief  by  the  dark  velvet  curtain  in  the 
background.  It  is  one  of  the  most  noble  and  perfect  pic- 
tures which  has  ever  been  painted ;  and,  amongst  the  por- 
traits of  the  Sixteenth  Century,  it  can  only  be  equalled  by 
the  masterpiecees  of  Raphael." — (A.  W.) 

The  small  portrait  of  a  Man  with  Cap  and  fur- 
trimmed  coat  and  short  brown  whiskers  belongs 

to  1537- 

"  In  spite  of  a  certain  hardness  in  the  execution,  we 
can  not  doubt  that  it  is  the  work  of  Holbein." — (A.  W.) 


256        ROYAL   PICTURE   GALLERY 

Diirer's  Crucifixion  is  a  small  work  of  exquisite 
quality. 

"  For  proportion,  power,  life  and  noble  character,  this 
exquisite  piece  rivals  the  creations  of  Leonardo  da  Vinci. 
The  flesh  is  treated  with  a  soft  blending,  and  with  a  firm- 
ness of  touch  and  richness  of  enamel  almost  unrivalled; 
and  such  is  the  minuteness  of  the  detail  that  we  can  see  the 
hairs  on  the  frame  and  the  reflections  in  the  eyes.  A  gem 
of  this  kind  would  naturally  attract  the  attention  of  the 
great  Venetians,  and  lead  them  to  analyse  nature  with  more 
care  than  was  their  wont;  and  it  can  hardly  be  doubted 
that  studies  of  this  sort  were  the  moving  cause  of  Titian's 
undertaking  and  completing  that  marvel  of  his  youth,  the 
Christ  with  the  Tribute  Money." — (C.  and  C.) 

"  The  little  Christ  on  the  Cross  is  both  genuine  and  a 
masterpiece.  Most  admirable  are  the  intensity  of  ex- 
pression and  the  delicate  execution,  rendering  this  work 
one  of  the  most  precious  treasures  of  this  collection." — 
(W.  S.) 

Another  gem  is  a  Virgin  by  Van  Eyck. 

"  In  the  central  compartment  of  a  triptych,  Mary  with 
the  Infant  is  seated  on  a  throne  in  a  Gothic  chapel ;  on 
the  wings  St.  Catharine  and  St.  Michael  with  the  donor, 
and  on  the  outside  the  Annunciation.  This  little  altar- 
piece  possesses  such  wealth  of  minute  details,  and  the 
whole  is  at  the  same  time  so  delicately  worked  out,  that 
it  may  well  have  deserved,  as  the  legend  states,  to  have 
been  carried  about  by  the  Emperor  Charles  V.  on  his 
journeys,  for  his  private  devotion." — (O.  E.) 

He  has  also  two  portraits,  one  of  an  old  man 
named  Jodocus  Vyts,  and  another  of  a  youth 
whose  family  name,  Leeuw,  is  figured  by  a  little 
lion.  Both  portraits  are  brilliant  and  finely- 
preserved  examples  of  the  master. 

Peasant  Brueghel's  Fighting  Peasants,  who 
have  quarrelled  over  cards,  is  justly  famed. 

"  The  poses,  gestures,  and  facial  expressions  are  very 
animated  and  of  striking  verity.  The  hamlet  forms  an 


DRESDEN  257 

agreeable  and  very  natural  perspective.  The  lights  and 
shadows  are  in  energetic  contrast.  The  colour,  lively  and 
just,  has  something  vulgar  in  it  also,  that  suits  the  sub- 
ject. Unfortunately,  the  perspective  leaves  something  to 
be  desired.  It  is,  however,  a  good  work,  conceived  en- 
tirely in  the  vein  of  comic  art.  A  more  expressive  face 
than  that  of  the  man  who  has  just  been  struck  on  the 
head  with  a  flail  has  rarely  been  painted."— (A.  M.) 

Bathsheba  at  the  Fountain  was  painted  by 
Rubens  in  his  last  period.  She  is  seated  by  a  foun- 
tain whose  silvery  stream  falls  into  a  marble  basin. 
Above  her,  a  red  curtain  is  looped;  and  she  wears 
a  light  drapery  of  black.  Upon  her  seat  a  red 
carpet  is  spread.  On  the  right,  a  servant  is  comb- 
ing her  hair;  and  on  the  left,  a  negro  page  in  a 
blue  jacket  brings  her  a  letter  from  King  David, 
who  appears  in  the  background  looking  on  the 
scene  from  a  portico  of  white  stone.  The  sky  is 
filled  with  white  clouds. 

St.  Jerome  in  the  Desert  belongs  to  his  first 
period.  It  shows  careful  workmanship.  St. 
Jerome  is  kneeling  before  a  crucifix  on  a  rock,  ab- 
sorbed in  prayer.  A  skull  lies  on  the  open  book 
before  him;  and,  beside  him,  his  lion  is  asleep. 
Dark  rocks  and  trees  form  the  background ;  and 
through  a  vista  the  sky  is  seen.  The  light  falls 
beautifully  upon  the  face  of  the  saint  which  stands 
out  strongly  from  the  darkness. 

Mercury  and  Argus,  which  belongs  to  the  mas- 
ter's last  period,  is  entirely  by  his  own  hand. 
Argus,  represented  as  a  vigorous  man,  is  sleeping 
against  a  tree.  Near  him  stands  the  cow,  lo. 
Mercury  holds  his  pipe  to  his  lips  with  one  hand 
and  his  sword  in  the  other  as  he  stealthily  ad- 
vances to  kill  him.  Venus  is  hovering  in  the  air. 

"  The  tone  of  the  picture  is  extremely  warm,  and  the 


258        ROYAL   PICTURE   GALLERY 

air  is  saturated  with  burning  vapours  that  throw  their  re- 
flection on  the  bodies  of  the  personages.  The  cow  of 
pale  hue  is  broadly  painted." — (M.  R.) 

The  Boar  Hunt  has  a  superb  landscape  with  a 
beautiful  treatment  of  light  and  shadow.  A  mag- 
nificent oak  has  fallen,  and  around  its  noble  trunk 
and  roots  the  boar  is  brought  to  bay. 

In  the  fascinating  portrait  of  a  Lady  with  a 
Baby  on  her  lap,  we  may  recognise  Isabella 
Brandt,  her  face  somewhat  thin  and  worn,  and 
her  son,  Albrecht,  whose  godfather  was  the  Arch- 
duke Albrecht. 

The  Head  of  an  Old  Priest  (1634)  is  by  the 
hand  of  Rubens.  He  has  a  beard  and  is  dressed 
in  a  red  velvet  robe  over  which  passes  a  band  em- 
broidered with  figures  on  a  background  of  gold. 
The  expression  of  the  face  is  severe.  The  flesh 
and  hair  are  treated  with  great  sureness  of  touch. 

Painted  with  great  vitality  is  A  Woman  with 
a  Gold  Chain,  with  hair  confined  by  a  tight  white 
cap.  She  wears  a  black  dress  embroidered  with 
gold,  a  white  ruff,  lace  cuffs,  and  gold  bracelets. 
She  toys  with  a  golden  girdle.  The  clothes  were 
painted  by  a  collaborator. 

There  are  no  less  than  twenty-nine  pictures  by 
Van  Dyck :  Drunken  Silenus,  led  by  Bacchantes ; 
St.  Jerome;  Jupiter  and  Danae;  and  Portrait  of 
Thomas  Parr  in  his  I5ist  year,  are  the  most 
notable. 

"  For  Van  Dyck,  all  the  classical  legend  of  gods  and 
heroes  was  nothing  more  than  a  great  reference  book  of 
subjects  for  study  of  the  nude,  especially  of  the  female 
sex.  For  this  very  reason  his  mythological  figures  have 
no  air  of  primeval  nature  about  them :  the  undraped  model 
is  only  too  much  in  evidence.  The  Danae,  a  pretty, 


DRESDEN  259 

youthful  form,  extended  on  a  couch,  stretching  out  her 
arms  towards  the  gold  which  falls  from  heaven,  whilst  her 
old  hand-maiden  endeavours  to  catch  some  of  it  in  her 
lap,  produces  the  impression  of  an  elegant  woman  of  the 
world."— (H.  K.) 

"A  Bacchanale  hangs  near  a  Danae  who  displays  on  rich 
stuffs  the  charms  of  her  white  and  delicate  body.  This  pic- 
ture and  Jupiter  Surprising  Antiope  Asleep,  are  almost 
the  only  compositions  in  which  the  artist  sought  to  ren- 
der the  seductions  of  female  beauty  deprived  of  all  veils. 
The  Susannah,  of  Munich,  still  half  hides  herself  in  the 
drapery  which  the  old  men  are  trying  to  tear  away." — 
(L.  G.) 

Two  pictures  are  interesting  to  study  for  the 
sake  of  comparison.  Rubens  and  Van  Dyck  often 
treated  the  same  motive;  but  these  identical  com- 
positions are  rarely  found  together.  The  authori- 
ties here  have  taken  care  to  place  in  company  two 
St.  Jeromes  of  similar  size,  by  these  two  artists. 
Their  juxtaposition  renders  more  striking  the  dif- 
ference between  the  masters.  The  effects  obtained 
by  one,  naturally,  and  without  apparent  effort,  are 
laboriously  sought  by  the  other.  In  Van  Dyck, 
the  colour  assumes  an  extreme  violence.  The 
flesh,  withered  and  seamed  with  deep  wrinkles, 
is  lighted  with  ardent  tones  before  which  the 
vivid  but  harmonious  colour  of  Rubens  almost 
pales.  Here,  Van  Dyck  is  far  below  his  model. 

Among  the  portraits 

"the  busts  of  an  elderly  couple  (Nos.  1073,  1074)  may 
be  mentioned  as  examples  of  the  most  simple  treatment. 
The  artist  has  contented  himself  with  throwing  the  heads, 
framed  in  fine  white  linen,  into  strong  relief  against  the 
dark  surface  composed  of  the  black  costume  together  with 
a  deep  shade  in  the  background." — (H.  K.) 

Another  famous  Van  Dyck  is  a  portrait  group 


26o        ROYAL   PICTURE   GALLERY 

of  the  Children  of  Charles  I.  and  represents  the 
Prince  of  Wales  (afterwards  Charles  II.),  the 
Princess  Mary  (afterwards  the  wife  of  William 
II.,  Prince  of  Orange),  and  the  Duke  of  York 
(afterwards  James  II.). 

A  famous  composition  with  life-size  figures  by 
Jordaens  is  Diogenes. 

In  a  market-place,  Diogenes  searches  for  a  man, 
with  lantern  in  his  hand,  surrounded  by  a  mob  of 
men,  women  and  children,  mocking  and  laughing 
at  the  philosopher. 

"  This  composition,  which  the  artist  first  took  seriously, 
he  ended  by  finding  pleasant,  grotesque  and  even  absurd. 
It  is  painted  with  incredible  boldness  and  a  prodigious 
exuberance  of  colour,  with  personages  as  large  as  life." — 
(A.  M.) 

The  Prodigal  Son  is  in  Jordaens's  best  vein. 

"  It  is  a  farm-yard  scene,  with  cattle  about,  and  pigs 
at  the  trough.  The  farmer  is  accompanied  by  his  wife 
and  mother-in-law,  with  the  same  faces  that  occur  in  all 
the  table  pictures  of  this  artist.  The  women  are  carrying 
brass  vessels,  beautifully  rendered.  The  vagrant,  naked 
except  for  a  loin-cloth,  begs  for  alms.  He  aches  with  hun- 
ger; not  only  his  gaze  and  his  outstretched  hand,  but  his 
whole  body  implores  and  cries.  The  people  look  at  him 
sympathetically :  the  master  holds  out  a  welcoming  hand 
while  the  two  women  look  at  him  with  benevolent  curi- 
osity. Only  the  dog  declares  himself  against  the  strange 
intruder,  and  bares  his  teeth.  But  the  Biblical  story  of 
the  reckless  youth  and  the  people  to  whom  he  goes  for 
help  is  of  secondary  importance  here.  The  chief  thing  is 
the  animals  and  the  art  with  which  they  are  painted.  The 
dog  is  magnificent  in  his  strong  and  distrustful  attitude. 
The  other  quadrupeds  are  painted  sleekly  and  smoothly. 
With  the  rest  of  the  scene,  they  are  suffused  with  warm 
light  that  seems  to  penetrate  them.  Men  and  animals  stand 
in  a  sunny  mist  that  deprives  the  forms  of  all  harshness 


CHRIST  CROWNED  WITH  THORNS— Guido  Reni 

DRESDEN 


GALLANT   PROPOSALS— Metsu 

DRESDEN 


DRESDEN  261 

and  solidity,  and  transfuses  them  with  a  faint  light  glow." 
—  (M.  R.) 

Coques's  Family  Group,  one  of  the  artist's  best 
productions,  is  supposed  to  be  his  own  family. 
Several  musical  instruments  lie  on  the  floor. 

David  Teniers,  Jr.,  has  two  dozen  works  here, 
the  most  important  of  which  are  a  large  Ker- 
messe,  three  other  Village  Festivals,  a  Bleach- 
ing-Ground,  a  Tavern,  a  Chemist,  a  Corps  de 
Garde,  a  Kitchen  Interior,  a  Dentist,  Tric-Trac 
Players,  a  Drinker,  Peasants  Playing  Dice,  Card 
Players,  Sorcerers,  and  Landscapes. 

David  Ryckaert  has  two  Tavern  Scenes  of  peo- 
ple singing  and  drinking.  The  first  has  fine 
colour,  and  an  air  of  truth  that  excites  and  holds 
our  interest.  Having  carefully  selected  his  types, 
the  painter  has  ingeniously  grouped  them.  The 
second  picture  is  even  superior.  The  figures  of 
the  peasants  are  droller,  and  the  execution  is 
firmer.  Children  are  also  enjoying  themselves 
with  shouting  and  playing  the  fife.  This  vulgar 
episode  is  poetised  with  an  admirable  colour. 

Many  of  Van  Thulden's  works  are  hidden  in  gal- 
leries under  other  names,  but  here  we  find  one  with 
authentic  signature  and  the  date  1654.  This  is  a 
Virgin  Enthroned  with  her  Son,  receiving  the 
adoration  of  three  women,  who  represent  allegori- 
cally  Flanders,  Brabant  and  Hainault. 

Danae,  by  Van  Thulden,  is  a  young  girl,  nude 
and  lying  on  a  bed.  The  golden  shower  is  falling 
and  she  holds  out  her  arms  to  it.  Cupid  has 
picked  up  a  piece  of  gold  and  seems  to  taunt  with 
it  the  young  girl  who  has  treated  him  with  disdain. 

"  Few  painters  have  as  supple   and  varied  a  talent  as 


262        ROYAL   PICTURE    GALLERY 

Van  Thulden.  He  obtained  the  most  striking  dramatic 
effects,  showed  equal  inspiration  for  comic  scenes,  and 
shone  with  elegance,  charm  and  poetry  in  graceful  sub- 
jects and  finally  leaped  without  awkwardness  into  those 
confused  regions  of  mystic  art.  It  might  be  said  of  him 
that  he  was  the  cleverest  painter  of  the  school  of  Ant- 
werp. He  possessed,  indeed,  such  a  skilful  hand  that 
many  of  his  pictures  have  been  attributed  to  Van  Dyck 
and  Rubens."— (A.  M.) 

Two  works  by  Diepenbeck  show  the  influence  of 
Rubens:  The  Fete  of  Venus  and  Cupid  and  the 
Triumph  of  Neptune  and  Amphitrite.  The 
former  represents  an  excavation  among  the  rocks 
where  the  statues  of  the  goddess  and  her  son  are 
objects  of  a  special  ceremony.  A  troop  of  nearly 
naked  men  and  women  come  to  render  their  hom- 
age, satyrs  are  festooning  garlands  about  the  rocks 
and  little  Cupids  dance  in  the  air.  The  colour  is 
very  beautiful, — the  clear  and  lively  tints  that  Die- 
penbeck loves.  The  second  picture  is  also  distin- 
guished by  an  agreeable  colour. 

Van  Uden,  whose  landscapes  were  highly 
prized  by  his  contemporaries,  has  one  of  his  best 
works  here. 

"  A  vast  landscape  shows  a  row  of  hills  which  rise  in 
the  background  and  continue  to  the  foreground  where  the 
ground  is  divided  into  three  natural  steps.  The  upper 
plateau  is  crowned  on  the  left  by  a  large  rustic  house 
with  a  high  roof,  probably  an  inn,  the  chimney  of  which 
is  smoking  and  to  which  a  village  wedding  party  is  has- 
tening in  the  plateau  which  is  adorned  with  large  trees 
which  cross  the  entire  canvas  and  are  lost  in  the  frame.  In 
the  lower  portion  some  peasants  greet  each  other  and  talk, 
or  are  joining  the  others  to  take  part  in  the  fete.  On  the 
right  side  of  the  picture  there  is  an  immense  plain  bathed 
by  a  river  that  breaks  into  various  arms  and  halts  in 
various  pools. 

"A  sky  sown  with  clouds  crowns  this  scene;   it  is  of 


DRESDEN  263 

extreme  simplicity  and  does  not  reveal  any  attempt  to 
give  to  the  vapours  a  striking  or  original  aspect.  There 
is  the  same  lack  of  effort  in  the  distribution  of  light:  the 
landscape  is  illumined  by  a  tranquil  and  monotonous  day; 
you  wish  that  the  sun  would  throw  some  shafts  of  light 
to  form  striking  contrasts.  The  colour  is  correct,  gentle 
and  agreeable,  but  does  not  offer  any  of  those  delicacies 
or  vigorous  tones  that  the  great  masters  love.  In  sum, 
the  entire  work  has  a  naive  appearance:  it  is  a  study  after 
nature,  made  with  an  ingenuity  that  is  a  little  too  primi- 
tive."—(A.  M.) 

The  Dead  Stag  with  Fruits  is  perhaps  the 
finest  work  of  this  class  by  Snyders.  A  dog-  laps 
the  blood  that  flows  from  the  stag's  nostrils.  In 
this  picture,  the  human  being  is  of  equal  interest 
with  the  still-life,  which  is  unusual.  It  is  a  young 
girl  with  a  parroquet,  which  greatly  enlivens  the 
canvas. 

Among  other  works  by  Snyders  are  a  Wild 
Boar  Hunt,  with  figures  by  Rubens;  and  Game 
and  Poultry  on  a  Bench,  with  Rubens  and  his 
wife  as  cooks,  the  figures  in  this  picture  were 
also  painted  by  Rubens. 

Dresden  also  possesses  fine  fruit  and  flower  pieces 
by  Jan  Davidz,  Jan  and  Cornelis  de  Heem.  Of  the 
former,  there  is  a  beautiful  group  consisting  of 
white  grapes,  a  red  and  white  rose,  winter  cherries 
and  an  anemone  bound  together  by  a  blue  ribbon ; 
a  large  Bouquet  of  peonies,  roses  and  other 
flowers ;  and  Fruit  and  a  boiled  lobster  on  a  table. 
Of  Cornelis  de  Heem,  note  his  Fruit,  consisting 
of  white  grapes,  figs,  an  orange,  a  partly  peeled 
lemon  and  an  oyster;  and  of  Jan,  a  Glass  of  Wine 
standing  in  a  carved  recess  of  stone  around  which 
is  a  wreath  of  fruits  and  flowers. 

Among  other  examples  of  fruit,  flowers  and  ani- 


264        ROYAL   PICTURE   GALLERY 

mals  we  may  note  that  there  are,  for  instance:  23 
by  Velvet  Brueghel ;  14  by  Van  Dyck ;  4  by  Brou- 
wer;  25  by  Teniers;  6  by  D.  Seghers;  7  by  Fyt; 
5  by  De  Heem ;  I  by  J.  van  Kessl ;  6  by  Snyders ; 
and  3  by  imitators  of  Snyders ;  i  by  Paul  de  Vos ; 
i  by  A.  Van  Utrecht ;  I  by  J.  Jacob  sen ;  I  by  Van 
Apshoven;  3  by  Van  Son;  2  by  O.  Elliger;  and  2 
by  Van  Veerendael. 

Rembrandt  with  Saskia  on  his  Knee  has  a 
world-wide  fame. 

"  So  fragile  and  dainty  is  the  little  bride  that  she  looks 
a  mere  child,  in  spite  of  her  twenty-two  years ;  and  her 
delicate  charm  is  enhanced  by  contrast  with  Rembrandt's 
robust  manhood.  The  artist  is  seated  in  a  chair,  dressed 
in  a  military  costume,  and  brandishes  a  long  glass  of 
sparkling  wine  in  his  right  hand.  With  his  left  he  clasps 
his  wife's  waist.  Saskia  wears  a  rich,  but  somewhat  fan- 
tastic dress.  Her  sweet,  fresh  face  is  turned  towards  the 
spectator.  Before  them  is  a  table  covered  with  an  Eastern 
rug,  on  which  are  a  plate  and  a  raised  pie  surmounted  by 
a  peacock  with  outspread  tail.  Rembrandt,  whose  eyes 
are  slightly  misty,  laughs  aloud,  displaying  both  rows  of 
teeth  and  shakes  his  flowing  hair." — (E.  M.) 

In  the  portrait  of  Saskia,  dated  1633, 

"  The  head  is  slightly  turned  and  gaily  illuminated  by 
a  ray  of  sunlight.  The  crimson  cap  with  its  grey  plumes 
throws  a  warm,  transparent  shadow  over  the  forehead.  A 
blue  dress  patterned  with  white  is  coquettishly  trimmed 
with  gold  loops  and  shoulder  knots  and  the  hands  are 
encased  in  grey  gloves.  The  half-closed  eyes  twinkle 
roguishly,  and  the  smiling  lips  reveal  teeth  whiter  than 
the  pearls  upon  the  chemisette." — (E.  M.) 

In  Saskia  holding  a  Flower  in  her  hand  (1614)  : 

"The  strongly  illuminated  face  that  confronts  the 
spectator  in  this  portrait  beams  with  health,  the  cheeks  are 
round  and  blooming,  the  expression  gay  and  untroubled. 
But  the  resemblance  to  Saskia  is  far  from  striking — the 
figure  is  fuller  and  apparently  taller.  Something  akin  to 


DRESDEN  265 

Saskia  in  the  features  suggests  that  the  sitter  may  have 
been  one  of  her  sisters." — (E.  M.) 

Saskia  also  appears  as  Delilah  in  Samson's 
Marriage  Feast. 

"  Bedecked  like  a  votive  shrine,  a  diadem  on  her  brow, 
the  young  woman  sits  enthroned  at  the  table,  a  stolid 
spectator  of  the  feast.  Samson  reclines  at  her  side,  but 
turns  his  back  to  her  as  if  already  indifferent,  and  pro- 
pounds his  riddles  to  a  group  of  musicians  in  fantastic 
Turkish  costumes.  The  guests,  if  we  may  judge  by  the 
license  of  their  attitude,  have  hardly  observed  the  sobri- 
ety proper  to  the  East  and  we  are  inclined  to  wonder  what 
it  was  that  attracted  the  master  in  the  uninteresting  epi- 
sode. But  if  disregarding  the  extravagances  and  puerili- 
ties of  the  composition,  we  examine  its  technical  qualities, 
we  are  struck  by  the  breadth  of  treatment,  by  the  skilful 
distribution  of  the  light,  which  is  concentrated  on  the  prin- 
cipal group  dying  away  in  a  transparent  penumbra  full  of 
delicate  gradations.  Finally,  though  the  figures  lack  dig- 
nity, the  harmonious  splendours  of  the  East  are  happily 
suggested  in  the  rich  costumes  and  in  the  picturesque  dis- 
play of  costly  stuffs.  Blues  interwoven  with  silver  and 
reds,  mingled  with  gold,  contrast  happily  with  the  pre- 
dominant green  tones  of  the  picture." — (E.  M.) 

The  Sportsman  with  a  Bittern  (1639)  is  said 
to  be  Rembrandt  himself. 

"  It  is  of  great  interest  as  showing  the  results  of  those 
studies  from  nature  which  deal  more  especially  with  col- 
our, and  as  manifesting  Rembrandt's  conscientious  ear- 
nestness in  such  investigations.  The  sportsman,  almost 
wholly  in  shadow,  is  partly  hidden  behind  a  bird  he  holds 
up  by  its  legs.  The  light  falls  full  on  its  carefully  printed 
plumage,  which  under  Rembrandt's  brush  yields  a  rich- 
ness of  effect  truly  surprising  in  view  of  the  restricted 
colour  scheme.  By  means  of  tones  closely  allied  and 
very  simple — greys,  pale  yellows,  yellows  rather  more  in- 
tense, russets,  streaked  or  flecked  with  browns,  the  happy 
distribution  he  utilizes  with  great  skill — the  master  pro- 
duces a  most  original  harmony."— (E.  M.) 


266        ROYAL   PICTURE   GALLERY 

Portrait  of  an  Old  Man  (1654)  is  one  of  Rem- 
brandt's best. 

"  The  head,  with  its  broad-brimmed  cap,  enframed  in  its 
long  white  hair  and  beard,  is  modelled  in  a  full,  fat  im- 
pasto,  handled  with  consummate  knowledge  and  decision. 
The  sitter  was  very  probably  a  chance  model,  picked  up 
in  the  streets  of  Amsterdam,  but  in  his  rich  crimson 
dress  and  heavy  mantle  he  is  a  most  commanding  figure, 
his  proud  bearing,  confident  gaze,  powerful  frame  and 
deeply  furrowed  skin  suggesting  a  parallel  with  some 
rugged  oak  towering  above  its  forest  brethren." — (E.  M.) 

Another  Old  Man  (1665-1667)  is  vigorous. 

"  The  somewhat  strong  shadows  enhance  the  brilliance 
of  the  high  lights,  which  are  very  carefully  studied,  the 
touches  being  juxtaposed,  but  without  fusion,  a  device  by 
which  the  play  of  the  impasto  takes  on  a  vibrating  quality 
of  extraordinary  depth  and  harmony.  The  more  loaded 
passages — such  as  the  brocaded  drapery  and  the  clasp 
which  fastens  the  mantle — are  rather  modelled  than 
painted,  and  from  a  short  distance  are  almost  illusory  in 
their  rendering  of  the  glimmer  of  gold  and  the  glint  of 
precious  stones." — (E.  M.) 

Manoah's  Prayer  (1641)  is  one  of  the  finest 
works  in  the  gallery. 

"  Manoah's  awe  and  amazement  at  the  angel's  heaven- 
ward flight,  his  wife's  terror  at  the  thought  that  the 
divine  vision  may  cause  their  death,  these  were  the  fea- 
tures of  the  sacred  story  which  Rembrandt  emphasised 
in  his  striking  interpretation  of  the  episode.  The  angel 
is  a  truly  grotesque  conception — a  clumsy,  loutish  boy, 
encumbered  by  a  long  tunic,  whose  wings  seem  quite  in- 
sufficient for  his  support.  On  the  other  hand,  the  life- 
size  figures  of  Manoah  and  his  wife  are  among  the  most 
beautiful  and  touching  of  artistic  creations.  Never  did 
the  master  so  eloquently  express  the  intimate  communion 
of  two  souls,  mingling  in  the  fervour  of  a  common  prayer. 
Their  reverent  devotion  impresses  itself  on  the  spectator, 


DRESDEN  267 

and  so  absorbs  him  that  he  scarcely  notes  the  breadth 
and  simplicity  of  the  execution,  the  dignified  cast  of  the 
draperies  and  the  magnificent  quality  of  the  skilfully  con- 
trasted reds.  In  Manoah's  robes  these  are  somewhat  sub- 
dued, while  in  his  wife's  they  glow  with  extraordinary 
intensity,  both  tones  blending  into  absolute  harmony  with 
the  smoking  entrails  of  the  sacrificial  victim."— (E.  M.) 

Arent  van  Gelder,  Rembrandt's  pupil,  is  repre- 
sented by  his  masterpiece,  an  Ecce  Homo,  where 
Christ  bound  is  being  presented  to  the  Jews  by 
Pilate. 

Bol's  Repose  on  the  Flight  into  Egypt  and 
Jacob's  Dream,  with  the  ladder  reaching  to 
heaven,  deserve  attention,  particularly  as  the 
latter  is  the  artist's  masterpiece. 

Adam  Elsheimer's  Joseph  cast  into  the  Pit 
and  the  Flight  into  Egypt  are  two  fine  examples 
of  his  Biblical  subjects  in  Italian  landscape  settings. 

Thomas  de  Keyser's  Two  Cavaliers  on  Horse- 
back are  supposed  to  be  portraits  of  Don  Juan  of 
Austria  and  his  adjutant 

A  very  valuable  work  by  the  rare  Cesar  von 
Everdingen  represents  Flora,  Pomona,  Bacchus 
and  Cupid,  with  a  satyr  and  negress  in  the  back- 
ground. His  brother  Allart  von  Everdingen's 
landscapes  are  very  fine.  A  Waterfall  depicts 
a  dashing  stream  that  falls  between  pine  woods  and 
over  masses  of  rock ;  and  a  Stag  Hunt,  where  the 
stag  is  being  chased  by  huntsmen  through  the 
water,  in  a  rocky  country  beneath  a  cloudy  sky,  is 
a  masterpiece. 

Berchem's  Fishers  and  Cattle  are  also  superior. 
Both  are  notable  for  their  fine  landscapes.  In  the 
former,  fishermen  are  drawing  their  nets  to  the 


268        ROYAL   PICTURE   GALLERY 

shore;    and    in    the    second,    animals    and    men 
enliven  the  foreground. 

Among  the  scenes  of  inn  interiors 
"  Bega's  Dance  in  the  Tavern  is  full  of  life  and  spirit, 
and  full  of  sentiment  also;  and  it  presents  a  selection  of 
astonishing  caricatures." — (C.  B.) 

Brouwer's  Brawl  is  a  small  but  excellent  work 
depicting  three  peasants  quarrelling  over  dice. 

Ruysdael  is  seen  in  one  of  his  many  views  of  the 
Chateau  of  Bentheim;  the  Monastery;  Forest 
Path;  Waterfall  by  Schlossberg;  the  Heath;  the 
Chase;  and  the  Jewish  Cemetery. 

Some  of  these  are  early  examples  of  this  mas- 
ter, as  is  shown  by  the  extraordinary  minuteness 
with  which  the  trees,  plants,  and  unevennesses 
in  the  ground  are  treated. 

"  The  Chase  consists  of  a  beech  wood,  with  a  wooded 
plain  seen  through  the  trunks  of  trees.  Here  in  the 
calm  water  in  the  foreground — through  which  a  stag- 
hunt,  by  Adriaen  van  der  Velde,  is  passing — clouds,  warm 
with  morning  sunlight,  appear  reflected.  In  this  picture, 
remarkable  as  it  is  for  size,  being  3  ft.  ioi  in.  high  by  5  ft. 
2  in.  wide,  the  sense  even  of  the  fresh  morning  is  not 
without  a  tinge  of  gentle  melancholy.  The  broken  re- 
flections in  the  water,  also,  are  incomparable,  the  general 
tone  unusually  warm  and  the  treatment  broad  and  free. 

"  In  the  Jewish  Cemetery,  a  pallid  sunbeam  lights  up 
some  of  the  tombstones  between  which  a  torrent  impetu- 
ously flows.  The  profound  melancholy  of  this  scene  can 
be  conveyed  by  no  description." — (C.) 

Paul  Potter  has  three  pictures,  painted  in  1652, 
at  the  close  of  his  short  and  brilliant  career.  The 
Shepherd  and  Flock  is  a  beautiful  landscape  with 
hillock,  trees,  water,  farm  buildings  and  cattle. 
The  sky  is  bathed  in  vapour  of  a  very  delicate 
grey.  The  lazy  animals  walk  slowly,  followed  by 


DRESDEN  269 

the  herd,  and  their  hides  stand  out  sometimes 
brightly  and  sometimes  strongly  against  the  sand 
of  the  dunes,  sown  here  and  there  with  a  few  tufts 
of  scanty  herbage. 

Animals  in  Repose  is  of  the  same  dimensions. 

"  With  different  animals,  the  subject  is  also  the  dunes, 
but  its  impression  is  more  penetrating.  It  would  not  be 
possible  to  carry  any  further  the  truth  of  attitude  of  these 
animals,  especially  of  the  horse  that  is  asleep  standing 
and  the  bull  that  is  rubbing  itself  with  delight  against  a 
post.  The  serenity  of  the  sky,  the  happy  rhythm  of  the 
lines  and  tonalities, — all  here  is  full  of  calm.  In  the 
simplicity  of  this  faithful  image  we  feel  the  soul  of  the 
artist."— (E.  M.) 

Dresden  possesses  more  than  sixty  carefully- 
finished  pictures  by  Wouvermans.  Nowhere  can 
his  three  styles  be  studied  more  profitably  than  here. 
His  first  style  is  marked  by  a  brown  and  warm  tone, 
a  race  of  massive  horses,  and  human  types  of 
angular  design  which  recall  Bamboche.  To  this 
class  belong  the  Announcement  to  the  Shepherds, 
the  Preaching  of  John  the  Baptist,  and  the  Com- 
bat on  a  Bridge.  His  second  manner  is  noticeable 
for  a  warm  but  more  clear  and  brilliant  colour; 
his  horses  have  more  slender  proportions,  his 
touch  is  firmer  and  surer.  The  Inn  Stable  and 
the  Burning  of  the  Mill  belong  to  this  period. 
In  his  third  manner,  which  he  adopted  after  1660, 
he  changed  his  tone  to  a  seductive  silver  scale, 
still  preserving  his  fine  and  soft  touch.  An  ex- 
cellent Stag  Hunt  is  the  best  example  of  this 
period  here.  Very  admirable  also  are  the  Smithy, 
the  Milkcan,  and  the  Almsgiving  in  which  a 
friar  is  bringing  food  for  the  poor  from  a  monas- 
tery. 

Other  masterly  works  are  a  Woman  Drinking 


270        ROYAL    PICTURE   GALLERY 

out  of  a  Glass,  and  a  Landscape  with  Ruins, 
amongst  which  cattle  are  grazing  and  a  man  in  a 
red  cloak  is  drawing  in  the  foreground. 

Karel  du  Jardin's  Cattle-Grazing,  containing 
an  ox,  some  goats  and  a  shepherd  boy  in  the  back- 
ground, passed  at  one  time  for  a  Paul  Potter. 

Adriaen  Van  Ostade's  early  works  have  a  slightly 
golden  tone  of  extraordinary  clearness.  After- 
wards, this  golden  tone  becomes  redder,  har- 
monising with  the  warm  and  deep  violet  of  the 
costumes.  In  his  last  manner,  the  reddish  tone 
becomes  colder,  and  the  shadows  thicken. 
Adriaen's  first  manner  may  be  seen  in  the  picture 
of  Guests  at  a  Round  Table  in  a  Dutch  Tavern. 
Another  tavern  scene,  with  women  and  children 
present,  belongs  to  his  last  period.  Waagen 
calls  The  Artists'  Studio  an  incomparable  master- 
piece for  its  light,  splendour  and  depth  of  tone. 

The  picture  of  Cattle  Grazing  before  a  peasant's 
cottage,  by  A.  van  der  Velde, 

"possesses  great  brilliancy  of  tone  and  charming  fresh- 
ness of  nature." — (C.) 

Van  der  Neer  has  three  exquisite  landscape 
panels.  One  shows  a  few  houses  near  a  lake.  A 
Dutch  Landscape  is  a  sunset  and  moonrise  effect. 
The  country  is  traversed  by  a  river  bordered  with 
trees  and  buildings.  A  city  is  visible  in  the  dis- 
tance. A  pendant  to  the  latter  represents  a  plain, 
water  with  boats  and  beautifully  executed  clouds, 
the  whole  producing  a  magical  moonlight  effect. 

Dresden  is  rich  in  works  of  Gerard  Dow. 

"  First  his  portrait,  twice  repeated,  showing  him  in 
familiar  occupations:  in  one  Gerard  Dow  is  playing  on 
the  violin ;  in  the  other  he  is  drawing  in  a  book.  Then 


DRESDEN  271 

the  Schoolmaster  mending  a  pen  and  looking  at  it  through 
his  spectacles;  the  Dentist,  holding  his  victim  by  one  hand 
and  showing  the  glorious  trophy  of  his  victory  with  the 
other;  then  an  Old  Woman  threading  a  needle  by  the 
light  of  her  lamp ;  a  young  girl  sleeping  by  her  spinning- 
wheel  and  being  awakened  by  a  young  man  who  holds  a 
candle  near  here  eyes;  a  .praying  Hermit;  a  young  girl 
in  a  cellar  kneeling  before  a  wine  cask,  listening,  glass  in 
hand,  to  a  young  man  who  preaches  sobriety ;  and  finally 
a  young  girl  standing  at  a  window  with  a  candle  pluck- 
ing a  bunch  of  grapes  from  a  vine.  For  grace,  harmony, 
charm  and  marvellous  finish,  Gerard  Dow  has  never  sur- 
passed this  last  picture,  one  of  the  most  brilliant  jewels 
of  his  rich  casket." — (C.  B.) 

A  Girl  Reading  a  Letter,  at  an  open  window 
where  the  green  curtain  is  raised,  and  An  Officer 
Embracing  a  Young  Woman  and  placing  a  gold 
piece  in  her  hand,  are  by  Vermeer  of  Delft. 

One  of  Metsu's  choicest  works  is  the  Game 
Dealer,  or  the  Smoker.  His  cook  comes  to  inter- 
rupt his  reverie  with  inquiries  about  a  fowl  an 
old  woman  wants  to  sell.  The  latter  makes  a 
grimace  and  holds  out  her  hand  for  the  bird  on 
hearing  the  price  he  offers.  This  simple  domestic 
scene  could  not  be  rendered  with  more  life  and 
spirit.  In  another  picture,  the  Game  Dealer  sits 
on  an  upturned  tub,  and  offers  a  fowl  to  a  young 
lady  of  fashion.  In  a  third  famous  Game  Dealer, 
a  couple  of  women  are  bargaining  over  a  hare. 

In  the  Fireside  a  man  is  lighting  his  pipe  with 
a  live  ember  while  listening  to  an  old  woman  who 
is  taking  a  jug  from  a  table  on  -which  stands  a 
lighted  lamp. 

"  In  this,  the  only  night-piece  I  know  by  Metsu,  the 
influence  of  Gerard  Dow  is  evident,  whom  he  equals  in 
glow  and  clearness  of  effect,  and  in  the  truth  of  every 
part."— (C.) 


2/2 

The  Lacemaker,  a  single  figure,  with  a  cat  at 
her  feet,  is  a  fascinating  picture  in  Metsu's  very 
best  style.  The  Gallant  Proposals  shows  a  jovial 
cavalier  in  an  inn,  holding  a  glass  of  wine  in 
one  hand,  and  passing  the  other  around  the  neck 
of  a  young  woman.  In  the  rear,  the  landlady  is 
chalking  up  the  score  of  the  rake's  account.  This 
is  also  classed  among  the  painter's  best  works. 

Ter  Borch's  Trumpeter  shows  an  officer  seated 
at  a  table  apparently  writing  a  letter  for  which  a 
trumpeter  is  waiting. 

There  are  many  admirable  examples  of  Net- 
scher.  A  portrait  said  to  be  of  himself,  dated 
1664,  is  painted  with  great  delicacy  in  a  cleat 
golden  tone;  a  gentleman  accompanying  a  lady's 
voice  with  a  guitar  is  of  great  charm  and  of 
warm,  clear  colouring  and  soft  touch.  A  lady 
with  a  spaniel;  a  maid  arranging  her  hair;  and 
the  Music  Lesson  should  be  noted. 

"  Netscher,  like  Terburg,  was  especially  esteemed  as  th* 
elegant  portrait  painter  of  the  upper  classes.  In  his 
simple  and  tasteful  genre  pictures  he  displays  a  remark- 
able preference  for  musical  scenes,  to  which  he  lends  all 
the  charm  of  aristocratic  elegance.  The  principal  of  these 
pictures  and  his  most  celebrated  work  in  respect  of  size, 
and  wealth  of  beauty  of  composition,  is  that  of  Dresden — 
a  lovely  lady  in  white  satin  accompanying  on  the  piano 
a  gentleman  who  is  singing.  This  beautiful  picture  is 
dated  1668,  and  belongs  to  his  best  period,  which  may  be 
reckoned  from  1664  to  1668."— (B.  M.) 

F.  Van  Mieris  has  fourteen  charming  pictures. 

"  The  Fortune  Teller  is  an  adorable  work.  A  courtesan 
robed  in  mauve  satin  listens  not  exactly  to  her  fortune, 
but  to  the  propositions  of  an  old  duenna.  This  courtesan 
possesses  incomparable  grace  and  beauty." — (C.  B.) 

The  Tinker  compels  attention. 

"  In   the    conscientiously   careful   examination   bestowed 


DRESDEN"  273 

"  In  the  conscientiously  careful  examination  bestowed 
by  the  tinker  upon  a  woman's  kettle,  and  in  her  anxious 
suspense,  a  species  of  humour  is  evident  which  points  to 
the  influence  of  Jan  Steen.  Both  as  regards  size  (i  ft. 
8  in.  high,  I  ft.  n  in.  wide)  and  artistic  merit,  this  may 
be  considered  a  chef  d'ceuvre  by  the  master."— (C.) 

A  Young  Soldier  Smoking  His  Pipe  is  also 
a  striking  work.  In  the  Painter's  Studio,  Mieris 
has  represented  himself  with  his  wife,  whose  por- 
trait is  sketched  on  the  easel.  The  Connoisseur's 
Visit  is  also  a  painter's  studio,  in  which  the  artist, 
palette  in  hand,  is  standing  by  a  visitor  who  is 
examining  a  picture. 

So  rich  generally,  Dresden  is  poor  in  Spanish 
masters ;  three  fine  portraits  by  Velasquez ;  a  Ma- 
donna and  Child  and  the  Death  of  Saint  Rodri- 
guez, by  Murillo,  being  the  most  important. 

The  Death  of  St.  Rodriguez,  who,  mortally 
wounded,  receives  the  martyr's  crown  from  an 
angel,  is  specially  noted  for  the  painting  of  the 
richly  embroidered  vestment,  still  preserved  in  the 
Seville  Cathedral  and  known  as  the  "  Murillo  Vest- 
ment." The  Madonna,  with  uplifted  eyes  holding 
the  Child  in  her  lap,  is  also  a  splendid  example  of 
this  master.  There  are  eight  works  by  Ribera, 
the  most  striking  of  which  are 

*  the  Martyrdom  of  St.  Lawrence  and  of  St.  Bartholomew, 
the  most  terrible  subjects  of  the  Legend,  both  in  the  bold, 
proud  and  fiery  style,  and  in  the  exaggerated  naturalism 
of  his  first  model, — Caravaggio.  Then  comes  a  St.  Mary 
the  Egyptian,  covered  by  an  angel  with  her  shroud,  and 
praying  beside  her  open  tomb,  in  the  more  sweet  and 
gentle  manner  of  his  other  master,  Correggio.)" — (L.  V.) 

The  French  exhibit  is  meagre.     N.  Poussin  has 


274        ROYAL   PICTURE   GALLERY 

six  pictures.  There  are  two  fine  Claudes.  Four 
landscapes  are  by  G.  Poussin,  the  Mountain  Lake 
and  the  Waterfall  being  very  fine.  Watteau's 
two  canvases  of  good  society  in  Arcadia  are  in  his 
best  style.  Lancret's  three  pictures  of  dancing  in 
seignorial  domains  are  also  delightful.  Pater  also 
has  two  works  in  the  same  vein,  formerly  given  to 
Lancret. 

Claude  Lorrain's  two  beautiful  landscapes  are: 
Flight  of  the  Holy  Family,  a  lovely  scene  with 
marvellous  atmospheric  effect,  and  a  waterfall  in 
the  middle  distance;  and  a  Scene  on  the  Coast 
of  Sicily,  in  which  Acis  and  Galatea  appear  in  the 
foreground  and  Polyphemus  sits  on  a  rock  with 
his  flock. 


\ 


THE    PICTURE    GALLERY 
CASSEL 

THE  Picture  Gallery  stands  on  the  Schone 
Aussicht,  a  handsome  modern  building  in  the 
Renaissance  style,  at  the  main  entrance  of  which 
are  statues  by  Rubens  and  Rembrandt.  The 
collection  consists  of  about  eight  hundred  pic- 
tures. The  gallery  owes  its  origin  to  the  Land- 
grave William  VIII.,  Governor  of  Breda  and 
Maestricht  in  the  Eighteenth  Century.  Hals  and 
Rembrandt  are  the  lions  of  the  gallery.  Very 
famous  is  the  Young  Scholar  and  his  Sister,  by 
Gonzales  Coques;  the  Barber's  Shop,  by  David 
Teniers  the  Younger;  and  the  Madonna  En- 
throned, by  Van  Dyck. 

The  only  authentic  pictures  by  Holbein  are  a 
middle-aged  Lady  holding  a  Rosary  and  the  half- 
length  figure  of  a  Man  dressed  in  Black  and 
gloomy  in  expression. 

Massys  has  an  excellent  genre  picture  of  a  Girl 
Caressing  an  Old  Man  who  holds  a  purse,  while 
an  old  woman  watches  at  the  door. 

Mabuse's  Triumph  of  the  Christian  Religion 
is  a  work  of  the  first  order.  In  this  triptych, 
the  painter  employs  the  ancient  method  to  the  point 
of  illusion.  Although  daied  1523,  one  might  think 
it  was  painted  about  1470. 

"  The  method   of  the  Van  Eycks  is   employed  without 
modification.     The  colour  has  the  fineness,  the  splendour, 
the  £lose^jjrain   and__the__  enamel   surface  that  distinguish 
275 


276  THE  PICTURE  GALLERY 

in  part  their  works ;  the  drawing  also  has  an  extraordinary 
precision  and  strength.  The  details  of  the  costumes, 
jewels  and  armour  are  minutely  reproduced.  For 
example,  like  a  mirror,  Joshua's  helmet  reflects  David 
and  Moses  standing  near." — (A.  M.) 

The  museum  is  unusually  rich  in  works  of  Jan 
Brueghel  the  Elder. 

"The  Sea  Shore,  Suburbs  (signed  and  dated,  1597), 
Stretch  of  a  River  (1598),  and  Winter  Effect  (1509); 
are  particularly  interesting,  on  account  of  their  date? 
for  the  study  of  the  early  days  of  the  artist.  In  the  last 
of  these,  the  landscape  was  painted  by  Josse  de  Momper." 
-(E.  M.) 

The  most  celebrated  of  the  undated  portraits  of 
Hals  (of  his  last  period)  is  The  Man  with  the 
Soft  Hat. 

"  The  silvery  tone,  which,  under  Rembrandt's  influence, 
had  become  somewhat  intensified,  reappears  and  absorbs 
almost  all  the  local  colours,  but  this  beautiful  silvery  grey 
becomes  gradually  obscured  till  at  last  diverse  colours 
are  juxtaposed  without  any  transition.  There  is  no 
longer  that  wealth  and  splendour  of  the  old  colour,  but 
merely  black  and  white.  To  a  certain  point,  this  is  the 
consequence  of  changes  in  the  costume,  which,  from  be- 
ing multicoloured,  had  become,  even  in  the  highest  cir- 
cles, generally  black,  the  white  collars  and  cuffs  forming 
the  sole  contrast." — (E.  W.  M.) 

The  Two  Musicians  is  a  piece  of  vigorous 
brush-work.  The  expression  of  the  youthful  faces 
shows  that  they  are  discoursing  sweet  music  most 
discordantly. 

Hals's  Laughing  Toper  is  strong,  vital,  and  full 
of  character. 

Jordaens  painted  many  pictures  of  the  Satyr 
and  the  Peasant,  the  best  being  here. 

"The  inhabitants   of  the  city,  who  greatly  admire  it, 


£g 


CASSEL  277 

tall  it  the  Soup  Eater.  It  is  distinguished  for  great 
vigour  of  execution  and  perfect  naturalism." — (A.  M.) 

The  Infancy  of  Bacchus  is  a  delicate  and 
charming  production.  Two  nymphs  are  bringing 
up  the  yowng  god:  one  is  milking  a  goat,  which 
sets  its  foot  in  the  bowl  and  overturns  it.  The 
strong  baby  is  howling  and  shedding  tears.  The 
other  nymph,  amused  at  his  petulance,  laughs  and 
glances  meaningly  at  the  spectator.  On  a  hillock, 
a  faun  is  playing  his  pipe.  Trees  are  in  the  middle 
distance;  and  behind  is  a  distant  landscape  with  a 
cloudy  sky  of  incomparable  harmony. 

"  This  is  one  of  Jordaens's  most  perfect  works,  and  one 
of  the  marvels  of  painting  The  two  nymphs  are  charm- 
ing in  type,  expression  'and  attitude.  The  little  god  is 
beautifully  formed,  and  so  true  that  he  might  be  taken 
for  a  real  child  rather  than  an  image.  The  sheep  and 
goats  are  equally  well  rendered.  As  for  the  colour,  softer 
tones  were  never  associated  with  greater  splendour.  The 
golden  gradations  of  the  flesh  tints  are  of  prodigious 
magnificence." — (A.  M.) 

"  There  is  a  little  picture,  by  Jordaens,  that  may  be 
compared  with  the  gems  of  Rubens.  Near  a  magnificent 
monument,  we  see  an  old  lord  to  whom  a  negro  is  bring- 
ing a  fine  horse,  while  someone  is  offering  him  a  stirrup- 
cup.  In  a  corner  the  god  Mercury  appears.  The  com- 
position is  of  rare  elegance,  and  the  design  in  the  most 
delightful  taste.  The  colour  is  extraordinarily  magnifi- 
cent, and  the  brushwork  of  unsurpassable  vigour." — 
(A.  M.) 

The  Jordaens  Family 

"  shows  the  painter,  still  quite  young,  with  a  little 
moustache,  playing  the  guitar.  His  wife,  a  heavy  and 
vulgar  Fleming,  sits  facing  him.  A  charming  little  girl, 
the  handsomest  person  in  the  picture,  is  bringing  a  basket 
of  flowers  to  her  mother.  It  is  a  picture  of  quiet  work- 
manship and  aspect,  which  is  exceptional  with  this  mas- 


278  THE  PICTURE  GALLERY 

ter.  It  possesses  a  prodigious  vigour  of  tone,  and,  at 
the  same  time,  the  most  suave  harmony." — (A.  M.) 

Sixteen  Van  Dycks  are  worthy  of  his  reputation, 
the  majority  being  portraits  of  the  first  rank.  A 
Madonna  and  a  Hero  and  Leander  are  not  par- 
ticularly important. 

"  The  portraits  here  are  more  democratic,  further  away 
from  conventionality,  and  more  richly  endowed  with  an 
individual  accent  and  real  life,  than  those  of  the  English 
aristocracy.  Among  them  are  a  syndic  of  Brussels,  a 
burgomaster  of  Antwerp  with  his  wife  and  children,  the 
brothers  Lucas  and  Cornelis  de  Wael,  an  unknown  lady; 
and  lastly,  and  perhaps  chiefly,  Snyders,  the  artist,  and 
his  wife.  Of  his  fellow  citizens  and  friends  Van  Dyck 
has  made  marvellous  works,  far  superior,  I  think,  to 
those  of  the  nobles." — (L.  V.) 

Portrait  of  a  Lady  of  thin  face  and  fair  com- 
plexion, almost  front  view,  is  very  striking. 

"  Her  dress  consists  of  a  plain  cap,  a  full  plaited  ruff 
and  a  black  figured  silk  robe  bordered  with  fur ;  her  right 
hand  holds  a  rose.  Painted  with  a  rich  impasto,  and  ac- 
companied with  a  brilliancy  of  hues  worthy  of  Rubens." 

-(J.  s.) 

Rubens  has  fifteen  pictures  of  sacred  and 
mythological  subjects.  Of  the  former  the  Flight 
into  Egypt  is  the  most  important. 

"  We  can  describe  it  in  three  words :  happy  arrange- 
ment, precious  finish,  splendid  light." — (L.  V.) 

There  are  also  several  fine  portraits.  One  par- 
ticularly, an  Asiatic, 

"is  very  remarkable  for  an  accent  of  truth,  and  a  vital 
power  that  Rubens  himself  has  rarely  attained  to  the  same 
degree." — (L.  V.) 


CASSEL  279 

Teniers  the  Younger  has  eight  panels. 

Let  us  leave  Pilate  to  wash  his  hands  clean  of  the 
blood  of  the  Just;  let  us  leave  the  Archduchess  Isabella 
making  her  entry  into  Wilvorden  by  torchlight;  but  let 
us  speak  of  a  piquant  Temptation  of  St.  Anthony,  a  sub- 
ject which  r~think  the  painter  has  treated  oftener,  with- 
out ever  repeating  himself,  than  Raphael  has  painted 
Madonnas ;  also  of  a  very  spring-like  Landscape,  of  very 
fresh  and  tender  verdure,  but  to  which  nobody  would  be 
tempted  to  apply  the  disdainful  name  of  '  dish  of  spinach  ' ; 
finally,  of  a  little  Kermesse  which  combines  the  most 
charming  gaiety  with  the  most  exquisite  touch;  and  the 
Shop  of  some  village  Figaro,  barber-surgeon,  in  which 
the  doctor  is  tending  a  man's  wounded  foot.  The  last 
two  works  show  us  Teniers  in  full  possession  of  his 
diverse  qualities,  in  which  we  see  charm  always  associated 
withstrength.  and  the  grace  oFThe  brush  with  the  grace 
'of  the  mind."— (L.  V.) 

In  the  number  of  Rembrandts,  Cassel  stands  very 
high,  being  surpassed  only  by  the  Hermitage,  Dres- 
den, and  the  Louvre. 

The  Portrait  of  the  Calligrapher  Coppenol  was 
painted  about  1633. 

"  With  wrinkled  brow,  serious  air,  and  close  attention 
to  the  grave  operation  in  which  he  is  engaged  Coppenol 
is  about  to  cut  his  quill  pen.  It  is  no  small  matter,  for 
at  that  time  in  Holland  those  calligraphers  were  esteemed 
the  equals  of  authors,  and  were  celebrated  by  poets.  The 
execution  here  has  become  broader,  and,  although  strong, 
the  shadow  that  falls  over  part  of  the  face  has  preserved 
all  its  transparence." — (E.  M.) 

The  Woodcutter's  Family  is  dated  1640  and 
greatly  resembles  his  Holy  Family  in  the  Louvre. 

"This  singularly  composed  picture  presents  the  in- 
terior of  a  room  of  a  picturesque  appearance,  disclosed  to 
the  spectator  by  the  drawing  aside  of  a  red  curtain,  which 
is  suspended  on  the  left.  On  the  right  of  the  apartment 
sits  a  young  woman,  pressing  to  her  bosom  an  infant 


28o  THE  PICTURE  GALLERY 

which  she  appears  to  have  just  taken  from  a  cradle,  and 
is  endeavouring  by  caresses  to  appease  its  crying.  A 
little  fire  blazes  on  the  floor  before  her,  and  an  earthen 
pot  and  a  cat  are  by  the  side  of  it.  The  master  of  this 
humble  dwelling,  with  an  axe  in  his  hand,  is  seen  at  the 
entrance  of  the  room,  which  is  partly  concealed  by  the 
curtain.  Although  the  chief  charm  of  this  estimable  pic- 
ture is  derived  from  the  magic  of  its  chiaroscuro,  yet  the 
unaffected  truth  and  simplicity  which  reign  both  in  the 
habitation  and  its  occupants,  must  always  awake  feelings 
of  the  warmest  admiration." — (J.  S.) 

Landscape  in  Winter  is  an  excellent  example 
of  Rembrandt's  out-of-door  scenes. 

"  The  picture  represents  a  view  in  Holland,  and  is 
chiefly  distinguished  by  a  building  on  the  bank  of  the 
river,  and  a  rustic  bridge  over  a  creek.  Among  the 
figures  which  animate  the  scene  is  a  man  having  on  a 
pair  of  skates,  who  is  seated  on  the  right ;  a  little  retired 
from  him  is  a  woman  followed  by  a  dog.  Three  other 
persons  are  also  on  the  ice,  one  of  whom  is  seated,  fixing 
on  his  skates.  The  aspect  is  that  of  a  fine  winter's  day." 
-(J-  S.) 

The  undated  Portrait  of  Himself  at  the  age  of 
twenty  is  considered  one  of  Rembrandt's  first  pic- 
tures. It  is  half  in  sunlight  and  half  in  shadow, 

"  The  type  is  that  of  a  young  peasant,  simple,  robust,  a 
trifle  uncouth.  The  broad  and  summary  execution  rein- 
forces this  impression ;  the  touch  is  free  and  dashing,  and 
the  hair  is  drawn  with  rapid  strokes  of  the  butt-end  of 
the  brush  in  the  fat  impasto.  The  eyes,  though  barely 
visible  through  the  shadow,  seem  to  gaze  at  the  spectator 
with  singular  penetration." — (A.  M.) 

In  the  Jacob  Blessing  the  Children  of  Joseph 
(1656) 

"  the  tonality  is  soft  and  subdued,  and  the  master  achieves 
an  eloquence  at  once  simple  and  pathetic  by  depth  and 
intensity  of  sentiment.  He  had  now  come  to  the  full 
maturity,  of  his  powers,  as  is  well  shown  in  the  masterly 


CASSEL  281 

execution  of  his  portraits,  notably  that  of  An  Architect, 
absorbed  in  meditation." — (E.  M.) 

Of  the  numerous  engravings  and  pictures  of  his 
wife,  which  Rembrandt  produced,  or  which  she  in- 
spired, 

"  first  comes  the  great  Cassel  portrait,  painted  with  ex- 
treme care,  probably  in  their  early  married  days,  though 
it  is  neither  signed  nor  dated,  that  being  unnecessary  since 
it  was  intended  for  Saskia  herself.  She  is  seen  in  profile, 
wearing  a  large  scarlet  velvet  cap  with  a  white  feather. 
The  straight  nose,  rather  fat  at  the  tip,  the  pursed  lips 
and  rather  plump  chin,  form  a  combination  that  is  piquant 
rather  than  regular.  The  features  are  not  very  beautiful, 
but  the  saucy  look  of  those  little  eyes,  the  freshness  of 
the  lips,  the  brilliance  of  the  complexion  and  the  delicate 
modelling  of  the  brow  lend  them  an  irresistible  charm  of 
youth  and  ingenuousness.  Her  hair,  as  curly  as  that  of 
the  painter's  own,  escapes  capriciously  from  her  cap.  Her 
costume  is  exceedingly  rich :  a  fur  pelisse  thrown  negli- 
gently over  a  red  velvet  bodice,  and  fastened  by  a  girdle 
with  big  bronze  gold  buckles.  For  jewels,  gold  chains, 
and  fine  pearl  necklaces,  bracelets,  and  earrings.  In  this 
picturesque  accoutrement,  although  somewhat  overdone, 
we  feel  the  uxorious  spouse  who  spares  nothing  to  adorn 
his  beloved.  The  painting  is  minutely  studied,  and  all 
this  jewellery  detailed  piece  by  piece." — (E.  M.) 

Drost's  Christ  and  Magdalen  shows  how 
closely  he  could  imitate  Rembrandt.  Another 
worker  in  the  genre  of  the  latter  was  Roland  Rog- 
man,  who  is  represented  by  two  fine  landscapes. 

Godfrey  Schalcken  has  three  admirable  works 
here.  Magdalen  is  a  pretty  penitent,  with  clasped 
hands  on  an  open  book.  A  torch  fixed  in  the  rock 
provides  the  light  effect.  Another  beautiful  fe- 
male, half-nude,  sits  leaning  on  her  elbow  on  the 
bank  of  a  river.  Cupid  stands  beside  her.  Bril- 
liant light  falls  from  a  crown  above.  A  fine  lamp- 


282  THE  PICTURE  GALLERY 

light  effect  is  that  of  a  youthful  female  in  profile, 
moralising  on  the  uncertainty  of  life  and  the  end 
of  beauty.  She  points  to  a  scroll  she  holds. 

Paul  Potter's  Animals  at  Pasture  (1644)  has 
two  signatures.  The  first  was  so  low  down  that 
it  was  hidden  by  the  original  frame,  so  that  the 
artist  added  another  in  full  view. 

"  The  animals — two  cows,  an  ox,  and  a  bull — are  strik- 
ingly life-like :  the  white  cow  lying  down  seems  to  be 
about  to  get  to  her  feet ;  and  one  would  say  that  the 
young  bull,  brown  spotted  with  white,  was  about  to  bel- 
low. The  details  are  evidently  lovingly  treated :  notably 
the  frog  in  the/  foreground,  the  little  leafless  oak, 
and  we  can  recognise  a  Vanessa  Atalanta  in  the  butterfly 
that  has  settled  on  on  the  broad-leaved  plant.  But  the 
rude  and  dry  touch  betray  the  youth  of  the  painter  and  the 
habits  of  an  engraver." — (E.  M.) 

The  Shepherd  and  His  Flock  is  dated  1648. 
The  pictures  painted  by  Potter  at  this  date  deserve 
special  attention,  because  notwithstanding  the 
simplicity  of  their  subjects  they  rank  among  his 
most  remarkable  works.  The  animals  here  repos- 
ing in  the  middle  of  an  immense  pasturage  show 
keen  observation  and  loving  treatment. 

"  In  my  opinion,  it  is  in  his  maritime  landscapes  that 
the  master  has  most  completely  given  his  measure.  He 
had  early  been  attracted  by  the  sea.  During  his  stay  at 
Haarlem  he  had  made  numerous  studies  along  the  shore 
and  among  the  dunes  near  the  town.  But  the  environs 
of  Scheveningen  especially  must  have  furnished  him  with 
motives  to  his  taste,  which  he  has  reproduced  in  some  of 
his  most  famous  pictures.  The  one  in  Cassel,  dated 
1658,  is,  I  believe,  the  first  in  which  he  treated  this  sub- 
ject. In  it,  he  shows  us,  under  the  light  of  a  half-veiled 
sun,  the  dunes  with  the  tufts  of  dry  grass  that  crown 
their  tops  dominated  by  the  village  spire  and  fishermen's 
huts.  On  the  shore  at  the  foot  of  the  dunes,  beside  the 
flotilla  of  boars  drawn  up  on  the  sand,  move  chariots,  a 
four-horse  coach,  and  gentry  on  foot  and  horseback. 


CASSEL  283 

Urchins  are  playing  about,  fishers  displaying  their  catch, 
and  squatting  a  little  apart  a  sailor  scans  the  offing  after 
the  manner  of  his  kind.  To  the  right,  the  whole  space  is 
occupied  by  the  sea,  a  grey-blue  sea,  the  waves  of  which, 
swollen  as  if  by  a  last  effort,  roll  harmoniously  before 
exhausting  themselves  in  a  long  silver  streak  on  the 
sand.  We  are  confounded  with  admiration  when  we 
think  that  the  artist  was  only  twenty-seven  when  he 
painted  this  beautiful  work  in  which  maturity  of  talent  is 
equalled  by  freshness  of  impression." — (E.  M.) 

Of  the  Ter  Borchs,  the  best  are  a  Lady  and 
Gentleman,  and  a  Woman  and  Lute. 

There  are  several  fine  works  by  Philip  Wouver- 
mans,  preference  being  generally  given  to  the 
Harvest  Wain. 

The  rare  and  delicate  Coques  has  a  luxurious  in- 
terior with  a  Lady  standing  by  a  Clavecin,  and 
a  Young  Scholar  sitting  at  a  table. 

Steen's  Twelfth  Night  is  a  scene  in  which 
some  fifteen  persons  are  indulging  in  seasonable 
foolery.  Jan  Steen  and  his  wife  are  seated  at  the 
side  observing  the  fun.  This  superlative  example 
of  the  master's  powers  is  dated  1668. 

Gabriel  Metsu  has  several  highly  finished  works. 
The  Lute  Player,  or  Duet,  shows  a  young  lady 
seated  at  a  table  tuning  her  instrument  while  a  gen- 
tleman, with  hat  in  one  hand  and  glass  of  wine  in 
the  other  stands  behind  her  chair.  A  spaniel  is  in 
the  foreground.  The  Poultry  Dealer  and  the 
Charitable  Lady  are  two  other  fine  character 
studies. 

There  are  three  lively  scenes  of  peasant  life  by 
A.  Van  Ostade:  Peasants  under  a  vine-trellis  in 
front  of  an  inn,  two  of  whom  are  quarrelling 
over  cards.  Peasants  in  an  Ale-House  shows 
ten  persons.  One  of  them  is  touching  his  hat 


284          THE  PICTURE  GALLERY 

to  a  woman  who  holds  a  long  glass  of  liquor 
in  her  hand.  Five  Men  and  a  Woman  at  Table 
in  the  yard  of  a  country  inn  represents  one 
handing  a  glass  of  liquor  to  a  comrade. 

Ruysdael's  Cascade  is  a  lovely  variant  of  one 
of  his  favourite  themes. 

"  The  banks  of  the  ravine  are  dotted  with  various 
buildings,  ruins  and  cabins,  softly  lighted  on  a  cloudy 
day  by  melancholy  sunlight :  another  marvel  of  art,  an- 
other prodigy  of  human  genius!  Certainly  on  returning 
to  Rembrandt's  landscape,  one  would  not  know  which  to 
award  the  palm  to." — (L.  V.) 

Van  der  Neer's  Sunset  is  one  of  the  gems  of 
the  gallery. 

The  Marine,  dated  1653,  is  one  of  the  earliest 
works  of  Willem  Van  de  Velde. 

"  In  it  he  has  been  extremely  happy  in  rendering  the 
impression  of  one  of  those  absolute  calms  that  occur  so 
rarely  in  the  northern  seas.  Artistically  grouped  boats 
with  motionless  sails  are  mirrored  in  the  water  with  per- 
fect clearness.  The  sweet  colour,  the  warm  haze  of  the 
atmosphere,  the  penetrating  charm  of  that  soft  and  caress- 
ing light  which  with  delicate  gradations  softens  all  the 
outlines, — everything  in  this  exquisite  work  testifies  to  an 
attentive  study  and  intelligent  love  of  Nature." — (E.  M.) 

A  full-length  portrait  of  the  Marquis  Davalos 
shows  Titian's  style  in  its  later  development. 

"  He  stands  in  a  red-striped  doublet  and  red  hose  in  a 
hilly    landscape.     The    figure    is    slender    and    well    made.    » 
The  treatment  is  rapid  and  bold." — (C.  and  C.)  ^ 

Tintoret  has  also  a  fine  portrait  here. 

The  Spanish  School  is  poorly  represented.. 
There  is  a  doubtful  Murillo.  One  Ribera  is  very 
fine. 

"  This  Mater  Dolorosa  unites  the  master's  two  principal 
and  generally  irreconcilable  qualities, — Correggio's  suav- 
ity and  Caravaggio's  energetic  precision." — (L.  V.) 


^ 
* 

=  2 

H  S 


OLD   PINAKOTHEK 
MUNICH 

TgEOjd  Pinakothek  was  built  in  1826-1836  and 
containsaDouti4OOpictures,  many  of  which  were 
gathered  by  the  Bavarian  princes  who  were  very 
fond  of  art.  The  Elector  Maximilian  I.  secured 
many  of  Diirer's  works  in  Nuremberg.  In  1805 
the  Diisseldorf  Gallery  with  its  fine  collection 
of  Dutch  and  Flemish  masters,  including  the 
splendid  works  by  Rubens,  was  removed  here ; 
in  1827,  the  Boisseree  Gallery,  collected  by  the 
Boisseree  brothers  from  the  churches  and  monas- 
teries suppressed  in  Cologne  in  1805-1810;  and 
in  1828,  the  Wellerstein  Collection. 

The  Madonna  of  the  Tempi  Palace  belongs 
to  Raphael's  Roman  period. 

"  In  this  picture  the  two  figures  are  so  completely  fused 
that  it  seems  as  if  they  made  but  one,  and  there  is  a 
wealth  of  tenderness  in  the  expression  of  the  Mother  and 
of  love  in  that  of  the  Child  as  he  huddles  himself  against 
her.  It  is  easier  to  feel  than  to  analyse  the  beauties  of 
this  picture." — (M.) 

In  the  Holy  Family  of  the  Casa  Canigiani,  St. 
Elizabeth  is  included. 

"  St.  Joseph,  standing  up  with  his  hand  upon  a  staff, 
dominates  and  completes  the  group — which  is  at  once 
animated  and  well  balanced — his  air  being  as  usual  serious 
and  pensive.  Previous  to  a  clumsy  restoration  which  was 
attempted  with  this  picture,  there  were  some  angels 
flitting  in  the  clouds.  The  landscape  seen  behind  the 
figures  is  rugged  and  uneven.  In  the  place  of  the  cool 
285 


286  OLD   PINAKOTHEK 

shades  of  which  Raphael  was  so  fond,  we  have  a  town 
situated  on  an  eminence,  with  towers  and  steeples  cutting 
through  the  mountain  outlines  in  the  background." — (M.) 

Of  a  later  period  is  the  Madonna  della  Tenda, 
painted  in  Rome,  and  somewhat  similar  to  the 
Madonna  of  the  Chair.  The  picture  is  in  the 
circular,  or  tondo,  form  and  takes  its  name  from 
the  olive  green  curtain  effectively  looped  in  the 
background.  The  Virgin  is  dressed  in  a  crimson 
robe,  turquoise  blue  mantle,  and  wears  an  orange- 
coloured  scarf  on  her  fair  hair.  Her  right  arm 
encircles  the  Holy  Child  and  her  left  rests  on  the 
little  St.  John  who  elevates  his  cross. 

The  Portrait  of  Bindo  Altoviti,  a  young  Ro- 
man banker,  famous  for  his  wealth  and  liberal 
patronage  of  art,  represents  a  young  man  with  long 
fair  hair,  blue  eyes  and  smiling  mouth.  It  is  a 
splendid  piece  of  colour  and  drawing.  It  presents 
a  remarkable  likeness  to  Raphael's  portrait  of  him- 
self in  the  Uffizi. 

r  Of  the  five  works  of  Giotto,  The  Last  Supper 
and  The  Crucifixion  are  particularly  remarkable. 
In  the  former  the  table  is  so  arranged  that  four  of 
the  Apostles  turn  their  backs  on  the  spectator.  In 
the  Crucifixion  the  expression  which  so  aston- 
ished his  contemporaries  is  noticeable.  This  pic- 
ture is  only  two  feet  high,  and  represents  Christ 
on  the  cross  surrounded  by  the  Virgin,  the  Holy 
Women,  St.  John,  Nicodemus,  and  St.  Francis,  the 
latter  kissing  his  feet. 

Three  pictures  by  Fra  Angelico  illustrating  the 
Legend  of  St.  Cosmo  and  St.  Damian  show  how 
the  saints  were  summoned  before  the  pro-consul 
who  vainly  endeavoured  to  force  them  to  practice 


MUNICH     **/  28 


.,  * 

idolatry  ;  next  we  see  them  saved  from  drowning; 

and  lastly  is  represented  their  crucifixion.  The 
figures,  trees  and  architectural  backgrounds  are 
painted  with  care  and  attention  to  perspective: 

"  As  examples  of  mediaeval  art  in  Italy  and  indicating 
its  earliest  aim  towards  the  pictorial  representation  of 
human  life  and  incident,  these  little  works  are  full  of 
interest."  —  (C.  L.  E.) 

Francia's  Madonna  in  the  Rose  Garden 

"  is  treated  with  all  the  loving  devotion  to  nature  that 
was  a  part  of  the  character  of  Francia.  In  this  picture, 
he  has  painted  the  roses  on  their  trellis,  and  the  birds  and 
lizards  that  sport  in  the  branches,  not  as  a  grand,  rich 
background  for  the  figures  in  the  picture,  but  has  sub- 
ordinated them  to  the  central  figure,  and  yet  given  to  their 
execution  all  the  careful  detail  that  he  felt  was  their  due. 
He  has  painted  them  lovingly,  in  a  realistic  manner,  evi- 
dently from  Nature,  and  as  one  who  loved  what  he  was 
depicting,  and  he  has  simply  enclosed  the  Virgin  within 
this  hedge  of  exquisite  flowers,  planting  her  feet  upon  a 
green  sward  that  is  also  spangled  with  flowers.  The 
whole  is  set  in  a  fine  landscape,  and  the  humility  of  the 
Virgin,  as  she  adores  her  Divine  Son,  could  have  no  more 
fitting  surroundings.  The  picture  is  an  altogether  charm- 
ing one."  —  (G.  C.  W.) 

St.  Catherine,  by  Luini,  has  a  great  reputation. 

"  This  picture,  whether  by  Luini  or  not,  is  evidently  the 
work  of  a  painter  who  fell  under  the  same  artistic  in- 
fluence. The  drawing  of  St.  Catherine's  mouth,  with  its 
upturned  accentuated  corners,  the  general  expression  of 
her  features,  half  mirthful,  half  cunning,  the  closely  ring- 
leted hair,  and  soft,  vague  shadows  —  above  all,  the 
mysterious  and  delicate  beauty  of  the  distant  landscape, 
are  reminiscent  of  a  school  whose  chief  characteristics 
centre  in  Leonardo  da  Vinci."  —  (C.  L.  E.) 

Bashful    modesty    is    the    prevailing    note    of 


288  OLD   PINAKOTHEK 

Leonardo  da  Vinci's  Madonna  with  the  Carna- 
tions. 

"  The  figure  of  the  Child,  as  well  as  the  careful  detail 
of  the  ornaments,  vases  and  flowers,  reminds  us  of  Lor- 
enzo di  Credi.  It  is  only  the  Dolomite  landscape,  melting 
into  blue  haze,  the  undulating  draperies,  and  the  delicate 
type  of  Madonna  that  proclaim  the  hand  of  Leonardo." 
— (R.  M.) 

Perugino's  Virgin  and  Child  with  Saints  shows 
the  Virgin  standing  with  clasped  hands  adoring 
the  Child,  who  lies  on  the. ground.  Beside  her 
stand  St.  John  and  St.  Nicholas  in  devotional 
attitudes. 

"  It  would  be  difficult  to  say  which  of  the  three  heads 
is  the  finest  in  conception.  Each  possesses  a  character 
and  beauty  of  its  own.  St.  John's  features  wear  an  ex- 
pression of  dreamy  spiritualism,  St.  Nicholas,  one  of  ear- 
nest thought,  while  the  Virgin's  countenance  is  a  model  of 
purity  and  feminine  grace.  In  the  Infant  Christ  are 
united  a  childish  dignity  and  loveliness,  which  approach 
the  highest  ideal  of  which  the  painter's  art  is  capable. 
The  draperies  are  arranged  tastefully,  but  after  a  some- 
what conventional  fashion,  and  it  is  curious  to  note  that 
some  of  the  principal  folds  in  the  Virgin's  robe  are  re- 
peated in  those  of  St.  Nicholas.  The  colour  throughout 
is  delicate  and  charming,  the  blues  and  greens  combining 
well,  and  the  white  mitre  of  St.  Nicholas  claiming  its 
proper  value  in  the  chromatic  scheme.  The  hues  of  St. 
John's  mantle,  in  which  amber  and  puce  blend,  are  too 
subtle  for  description.  This  picture  is  one  of  the  gems 
of  the  gallery." — (C.  L.  E.) 

Perugino  is  also  represented  by  two  companion 
pictures  that  were  long  assigned  to  Raphael — a 
Baptism  and  a  Resurrection.  Each  is  set  in  a 
typical  Umbrian  landscape.  In  the  former  the 
Saviour  and  John  the  Baptist  stand  in  the  stream, 
the  latter  pouring  the  water  on  Christ's  head  from 


MUNICH  289 

a  shell.  The  tomb  in  the  Resurrection  is  remark- 
ably well  foreshortened,  and  the  landscape  with 
hills,  trees  and  distant  town  is  very  attractively 
presented. 

"  Beyond  this  is  a  range  of  hills,  painted  conventionally 
in  a  beautiful  turquoise  colour,  which  passes  from  blue  to 
green  with  exquisite  gradations.  The  foreground  is  dark, 
and  a  hillock  which  rises  on  the  left  hand  partly  conceals 
the  town  from  view.  This  is  a  charming  little  work,  full 
of  excellent  qualities,  both  in  design  and  execution.  Ob- 
serve the  tasteful  introduction  of  herbage  at  the  base  of 
the  tomb,  relieving  the  severity  of  its  outline." — (C.  L.  E.) 

His  Vision  of  St.  Bernard  inspired  Lippo 
Lippi,  Filippino,  and  Fra  Bartolommeo's  similar 
pictures.  St.  Bernard  in  the  white  robes  of  his 
order  raises  his  hands  with  a  reverential  gesture  as 
the  Virgin  approaches.  Behind  her  are  two  angels, 
and  behind  St.  Bernard  stand  St.  John  and  St. 
Bartholomew. 

"  This  picture  is  painted  in  a  more  sombre  key  than 
Perugino  usually  adopted.  The  figures  are  grouped  under 
a  vaulted  arcade,  the  upper  portion  of  which  is  in  deep 
shadow.  This  gives  great  value  to  the  calm  evening  light 
diffused  over  a  serene  and  beautiful  bit  of  landscape  seen 
through  an  open  window.  The  scheme  of  colour  is  rich 
but  subdued,  and  the  flesh  tints  dark  in  tone.  Great  grace 
is  noticeable  in  the  design  and  action  of  the  figures  and 
a  quiet  devotional  feeling  pervades  the  whole  work." — 
(C.  L.  E.) 

The  Virgin  in  Glory  is  only  partly  the  work 
of  Ghirlandaio. 

"  The  St.  Michael  is  a  beautiful  young  figure,  which 
carries  us  back  to  the  Melchior  of  the  Innocenti.  It  is, 
perhaps,  the  last  thing  to  which  the  master  put  his  hand. 
But  the  folds  of  the  drapery  of  the  St.  John  are  hard 
and  sharp,  and  the  angels  of  the  upper  portion  are 
wholly  by  another  hand.  So,  too,  the  face  of  the  Ma- 


290  OLD    PINAKOTHEK 

donna  never  came  from  Domenico  himself.  The  two 
wings  of  this  portion  of  the  altarpiece  are  by  Mainardi 
and  are  fine  examples  of  the  master." — (G.  S.  D.) 

A  very  fine  example  of  Cima  da  Conegliano  is 
called  Virgin  and  Child  with  Saints,  the  latter 
being  Magdalen  and  Jerome.  The  Virgin  and 
Magdalen  are  beautiful  types,  and  their  hands  are 
delicate.  The  landscape  background  is  very  charm- 
ing. The  colour  is  Venetian  in  character. 

Palma  Vecchio's  Portrait  of  Himself  is  a  real 
gem  of  Venetian  portraiture. 

"  Admirable  alike  for  the  natural  beauty  of  the  head 
and  the  masterly  style  in  which  it  is  painted.  The  form 
and  sculpturesque  modelling  of  the  mouth  is  like  that  of 
a  Greek  statue,  the  eyes  are  full  and  expressive,  and  a 
mass  of  dark  hair  falls  picturesquely  round  the  neck." — 
(C.  L.  E.) 

The  Virgin  and  Child  with  Saints  is  a  charm- 
ing composition  by  this  master.  The  scheme  of 
colour  in  this  little  picture  is  thoroughly  Venetian 
and  brilliant  in  tone. 

Andrea  del  Sarto  has  two  Holy  Families  of 
'  -unequal  size,  in  which  appear  the  Virgin  on  her 
knees  supporting  the  Holy  Child,  who  is  standing 
before  her  and  leaning  towards  the  little  John  the 
Baptist.  In  the  larger  picture,  St.  Elizabeth  and 
two  angels  complete  the  group. 

"  These  two  pictures  are  painted  in  the  noblest  style 
and  with  the  most  marvellous  execution  of  the  great 
Florentine  colourist.  They  equal,  particularly  the  second, 
his  best  pictures  in  the  Pitti  Palace." — (L.  V.) 

The  small  Holy  Family  is  graceful  in  treat- 
ment. 
"  The  picture  is  a  lovely  one,  and  the  landscape  to  the 


MUNICH  291 

right  with  blue  mountains  and  nearer  ranges  dotted  with 
church  and  campanile  is  beautifully  painted." — (C.  and  C.) 

Titian  at  the  age  ol  ninety  painted  Christ 
Crownecf  with"Thorris. 

"  It  remained  unfinished  in  Titian's  workroom  till  Tin- 
toretto saw  it  one  day  and  begged  the  master  to  give 
it  to  him.  Titian  did  so,  and  Tintoretto  put  it  up  in  his 
atelier  as  a  model  of  what  a  modern  picture  ought  to  be. 
Boschini,  who  saw  it  in  the  hands  of  Tintoretto's  son,  justly 
describes  it  as  'a  marvel  worthy  of  a  place  in  an  academy 
to  show  students  all  the  secrets  of  art  and  teach  them  not 
to  degrade  but  to  improve  nature.'" — (C  and  C.) 

"  One  would  say  that  in  this  Tintoretto  found  all  the 
mysteries  of  painting  revealed.  Here,  in  fact,  Titian 
pushed  back  the  boundaries  of  the  art  of  painting.  By 
means  of  unheard-of  fire  and  boldness,  by  strokes  of  the 
brush  which,  when  viewed  at  close  range,  form  a  chaos 
of  scars,  he  evokes  a  tragic  and  nocturnal  scene  of  bodies 
in  action,  vibrating  colours,  and  the  sinister  glow  of 
lamps.  This  learned  impressionism  opened  the  way  for 
the  future."— (M.  H.) 

The  Portrait  of  a  Man  in  Black  is  painted 
with  great  force  and  finish. 

Charles  V.  is  one  of  this  master's  triumphs  in\ 
portraiture. 

"  The  old  Emperor,  with  pinched  lips  and  pensive 
mien,  absorbed  in  morose  meditation,  clothed  in  black, 
alone  by  an  open  window,  is  Jjie  strongest  and  most  ex- 

g'essive  definition  that  anybody  has  ever  given  of  politics, 
ere.  Titian's  psychological  intuition  attained  its  high- 
est degree.  In  sobriety  of  performance,  it  is  admirable ; 
as  an  expression  of  the  character  of  an  epoch,  it  is  in- 
comparable. It  was  the  very  Genius  of  History  that 
guided  the  hand  of  the  artist  on  that  day." — (M.  H.) 

Venus  Initiating  a  Young  Bacchante  is  a 
doubtful  Titian,  but  a  beautiful  picture. 

"  Note  the  exquisite   sense  of  colour  expressed  in  the 


292  OLD   PINAKOTHEK 

silver  dish  full  of  fruit  held  up  by  a  satyr  against  the 
bright  Italian  sky.  Venus  herself  is  a  sensuous-looking 
beauty.  The  lovely  blue  sky,  with  at  least  three  distinct 
shades  of  colour  in  it,  forms  an  excellent  background  to 
the  figures,  which  are  admirably  modelled." — (C.  L.  E.) 

Tintoret's  Portrait  of  Andrea  Vesalius,  the 
Anatomist,  is  broadly  painted.  Some  critics  have 
attributed  it  to  Domenico  Tintoret. 

"  A  fine  portrait.  He  has  a  skirrous  bone  in  his  left 
hand,  the  other  holds  a  compass :  he  looks  at  the  spectator 
with  a  most  penetrating  eye." — (J.  R.) 

The  Assumption  of  the  Virgin  is  said  to  be 
by  Guido,  but  it  is  probably  a  copy. 

"  It  has  that  regularity  of  composition  which  is  fre- 
quent with  Guide's  two  large  angels  and  two  little  angels 
on  each  side  and  two  cherubim,  regularly  placed  in  the 
middle,  under  the  Virgin's  feet.  This  formality  is  cer- 
tainly a  defect  in  Guido,  however  it  might  become  other 
painters  who  have  adopted  a  style  of  more  dignity." — 
(J.  R.) 

In  no  gallery  are  the  old  German  masters  repre- 
sented to  better  advantage. 

A  picture  of  St.  Veronica  by  William  of  Cologne 
is  one  of  the  earliest,  as  it  dates  from  the  Four- 
teenth Century.  It  is  small  but  highly  interesting. 
The  saint  holds  the  handkerchief  imprinted  with 
tKeTface  of  Christ.  Another  valuable  pictureTs 
by  an  unknown  Cologne  master,  the  Death  of  the 
Virgin,  dated  1515. 

"  The  composition  is  certainly  scattered  and  the  in- 
cidents wanting  in  repose ;  but  the  head  of  the  Virgin 
is  tender,  the  female  saints  on  the  wings  of  lovely  char- 
acter and  the  portraits  of  the  donors  truthful." — (C.) 

The  anonymous  painter  known  as  the  Master  of 


MUNICH  293 

the  Lyversberg  Passion  may  be  studied  here  in 
several  works,  the  most  important  of  which  is  the 
Annunciation. 

"  The  Holy  Virgin,  kneeling  at  a  faldstool,  turns  her 
head  round  towards  the  angel  who  appears  behind  her 
clad  in  a  beautiful  cape  of  gold  tissue  brocaded  with  a 
large  pattern  in  Venetian  red.  In  the  background,  two 
groups  of  angels  draped  in  blue,  with  wings  of  the  same 
colour,  hold  up  a  curtain  of  gold  brocade  on  which  a 
diaper  pattern  of  large  size  is  indicated.  Above  this,  and 
relieved  against  a  flat  sky,  is  a  representation  of  the 
Almighty  attended  by  angels.  The  figures  in  the  prin- 
cipal group  are  distingushed  by  a  conventional  treatment 
of  features,  carefully  detailed  hair  and  attenuated  ex- 
tremities. The  accessories  are  painted  with  far  more 
truth  to  nature,  as,  for  instance,  the  brass  vase  which 
holds  the  lily  in  the  foreground  and  the  play  of  light  on 
the  cushions  of  a  settle  in  the  rear." — (C.  L.  E.) 

Early  examples  of  German  portraiture  may  be 
studied  in  the  works  of  Martin  Schaffner.  His 
Count  Wolfgang  of  Getting,  in  black  velvet  with 
cap  of  black  and  gold  stripes,  painted  on  a  dark 
background  with  hunting-scenes  outlined  in  gold, 
shows  refined  feeling.  Of  greater  delicacy  is  his 
portrait  of  the  mathematician,  Peter  Appian, 
painted  in  a  light  key  with  little  shadow  on  a  grey 
background.  He  wears  a  fur-trimmed  coat  and 
holds  a  pair  of  compasses. 

In  The  Departure  of  the  Apostles  on  their 
Mission,  by  Michael  Wohlgemuth,  St.  Peter  is 
drinking,  St.  Thomas  has  a  cup  in  his  hand,  and 
St.  John  is  stooping  to  fill  a  ewer. 

"  The  action  throughout  is  easy  and  life-like.  A  tree 
in  the  middle  distance  bears  evidence  of  careful  study. 
The  landscape  background,  which  includes  the  walls  of  a 
fortified  town,  a  church  and  hill,  with  meadows  beyond, 
is  remarkable  for  its  excellence." — (C.  L.  E.) 


294  OLD   PINAKOTHEK 

Durer's  two  pictures  of  the  Four  Apostles,  John 
and  Peter  and  Mark  and  Paul,  are  life-size,  and 
were  the  master's  last  work  of  importance.  An  old 
tradition  asserts  that  these  figures  represent  the 
four  temperaments :  St.  John,  whose  mind  is  ab- 
sorbed in  contemplation,  represents  the  melancholy 
temperament;  St.  Peter,  the  phlegmatic;  St.  Mark, 
the  sanguine;  and  St.  Paul,  the  choleric. 

"  What  masterly  finish  there  is  in  the  execution !  Such 
as  is  only  suited  to  a  subject  of  such  sublime  meaning. 
What  dignity  and  sublimity  pervade  these  heads  of  varied 
character!  What  simplicity  and  majesty  in  the  lines  of 
the  drapery !  What  sublime  and  statue-like  repose  in 
their  movements !  The  colouring,  too,  is  perfect :  true  to 
nature  in  its  power  and  warmth.  Well  might  the  artist 
now  close  his  eyes.  He  had  in  this  picture  attained  the 
summit  of  art :  here  he  stands  side  by  side  with  the 
greatest  masters  known  in  history." — (C.) 

A  life-size  Lucretia  is  taken  from  an  unattrac- 
tive model,  but  the  figure  is  superbly  modelled.  She 
is  committing  suicide,  and  wears  a  metallic  green 
scarf  that  contrasts  with  a  pink  coverlid  and  a 
blue  pillow. 

In  the  Birth  of  Christ 

"  the  composition  and  the  figures  of  the  centrepiece  are 
ugly,  but  the  features  of  the  donors,  Stephen  and  Luke 
Baumgartner,  are  full  of  character." — (W.  S.) 

The  Portrait  of  Himself,  painted  two  years 
later  than  the  famous  one  in  the  Uffizi  and  its 
copy  in  the  Prado,  is  dated  1500,  and  shows  great 
development  in  character.  He  is  dressed  in  a  cloak, 
trimmed  with  fur,  which  he  holds  with  one  hand. 

The  Portrait  of  his  Master,  Wohlgemuth,  at 
the  age  of  eighty-two,  is  a  masterly  performance. 
The  countenance  is  sharp  and  bony,  the  nose 


Q 


MUNICH  295 

aquiline  and  the  skin   shrivelled.     Wonderfully 
treated  are  the  coat  and  fur  collar. 

Diirer's  Portrait  of  his  Father  is  of  great  excel- 
lence. 

"  The  earliest  portrait  by  Albert  Durer  known  to  me 
is  that  of  his  father,  dated  1497 — (at  Sion  House).  It 
is  of  most  animated  conception ;  the  execution  light,  but 
spirited,  and  of  draughtsmanlike  character;  the  colouring 
warm,  and  truly  harmonious.  The  same  portrait,  bearing 
the  same  date,  but  differing  in  many  respects,  and  with 
the  inscription  '  I  painted  this  face  of  my  father  when  he 
was  seventy  years  of  age,'  is  now  in  the  Munich  Gallery. 
It  is  closely  allied  to  the  former  in  conception  and  treat- 
ment, and  is  also  of  great  excellence,  though  of  less  force 
of  colour."— (Dr.  W.) 

In  the  Martyrdom  of  St.  Sebastian,  a  triptych, 
with  St.  Barbara  and  St.  Elizabeth  painted  on  the 
wings,  Hans  Holbein,  the  Elder,  shows  the  in- 
fluence of  the  German  .Renaissance.  The  pic- 
turesque character  and  charming  colour  of  the 
dresses,  the  beauty  of  the  distant  landscape,  with 
a  fortified  town,  towers,  bridges,  a  river  and  moun- 
tains make  this  a  very  attractive  work.  The  figures 
of  St.  Barbara  and  St.  Elizabeth  are  extremely 
graceful  and  brilliant  in  pose  and  costume. 

The  wonderful  altar-piece  of  The  Magi,  by  Roger 
Van  der  Weyden,  contains  his  very  best  work. 

"  The  splendours  of  the  Burgundian  epoch  are  rendered 
in  the  magnificent  costumes ;  and  the  groups  animate  with 
princely  solemnity  the  ruins  among  which  Jesus  has  just 
been  born.  This  is  a  work  that  cleverly  shows  the  great 
Flemish  master's  admiration  of  Gentile  da  Fabriano. 
Charm,  splendour  and  spirituality  all  harmonise  admirably 
here.  Archaic  simplicity  has  disappeared ;  there  are  no 
more  banderoles,  nor  inscriptions ;  and  if  the  personages 
are  still  arranged  too  exclusively  in  the  forefront  of  the 
scene,  if  the  urban  landscape  is  nothing  but  a  decoration, 
exquisite  and  distant,  from  which  the  soul  of  the  work 


296  OLD   PINAKOTHEK 

seems  to  be  absent,  yet  the  total  effect  is  so  happy,  the 
technical  execution  so  sure,  the  candour  of  the  Virgin  so 
sweet  and  good  that  ideas  of  admiration  and  adoration 
alone  possess  our  minds.  The  wings  represent  the  An- 
nunciation and  the  Presentation  in  the  Temple." — (F.  G.) 

The  Adoration  of  the  Magi,  by  Thierry  Bouts, 
is  the  central  panel  of  a  triptych  of  which  St.  John 
the  Baptist  and  St.  Christopher  form  the  wings. 
Each  of  the  three  pictures  is  a  gem.  In  the  cen- 
tral picture 

"  the  Kings  are  magnificently  attired,  and  followed  by 
a  retinue  whose  figures  diminish  in  correct  proportion 
along  the  distant  road,  their  features  wonderfully  life-like 
and  expressive,  and  the  costumes  detailed  with  extraordi- 
nary care.  Indeed,  the  whole  scene,  whether  we  examine 
the  texture  of  the  stonework  or  draperies,  the  distant 
hedgerows,  or  the  rose-tree  in  the  foreground,  even  the 
slug  which  crawls  along  the  top  of  the  wall,  leaving  its 
slimy  track  behind  it,  is  a  marvel  of  minute  and  truthful 
finish. 

"  St.  John,  clad  in  a  purple  mantle  thrown  over  a  coat 
of  camel's  hair,  bears  the  Agnus  Dei  in  his  arms,  sur- 
rounded by  a  rich  and  charming  landscape  varied  by  hills, 
foliage  and  winding  roads.  On  the  details  of  this  scene 
the  most  loving  care  has  been  bestowed.  In  the  left- 
hand  corner,  a  stream  of  water  flows  from  a  crevice  in 
the  rock  and  a  kingfisher  perches  to  drink.  The  pebbles 
by  the  rill's  side,  the  grass  and  plantains,  the  white  lilies 
and  dandelion  with  its  feathery  seed,  and  the  lizards 
sporting  in  the  path,  all  show  an  intense  admiration  of 
nature  and  wonderful  patience  in  its  portraiture.  The 
distant  lake  and  fortified  town  with  mountains  beyond 
are  detailed  with  delicacy  and  truth.  The  whole  is  ex- 
quisitely beautiful. 

"  5V.  Christopher  carrying  the  Infant  Christ  on  his 
shoulders,  wades  with  bared  limbs  through  the  sea  along 
a  rocky  shore.  The  upper  portion  of  his  body  is  draped 
in  a  crimson  mantle,  the  colour  of  which  is  reflected  on 
the  rippled  surface  of  the  water.  Behind,  the  sun,  ris- 
ing in  a  sky  barred  with  gold  and  purple  clouds,  gleams 


MUNICH  297 

over  the  distant  waves.  It  would  be  difficult  to  over- 
rate the  unaffected  grace  and  refined  sentiment  of  this 
delightful  work."— (C  L  .E.) 

Thierry  Bouts  may  be  also  profitably  studied  in 
two  wings  of  a  great  altar-piece,  the  other  parts  of 
which  are  at  Berlin  and  Louvain.  The  subjects 
here  are  the  Meeting  of  Abraham  and  Mel- 
chisedek  and  Gathering  the  Manna. 

"  The  latter,  by  the  magnificence  and  fineness  of  its 
colour,  and  the  quality  of  its  landscape  and  atmosphere, 
anticipates  the  art  of  succeeding  centuries.  A  bright  light 
illumines  the  figures  in  the  foreground  and  makes  their 
costumes  brilliant,  while  those  in  the  background  sink 
gradually  into  a  twilight  that  is  ably  graded.  This  striv- 
ing after  an  expressive  ambiance  announces  the  luminism 
of  the  Seventeenth  Century  Dutch."— (F.  G.) 

Memling's  Seven  Joys  of  the  Virgin  represents 
the  principal  events  in  the  life  of  Christ  and  the 
Virgin. 

"  Not  in  several  compartments,  but  as  one  great  whole, 
united  in  a  landscape,  with  an  endless  number  of  subordi- 
nate events:  a  whole  world  of  life,  and  joy,  and  sorrow — all 
executed  with  wonderful  grace  and  beauty." — (W.) 

Rubens  has  here  two  versions  of  the  Last  Judg- 
ment— one  of  enormous  size,  and  one  small.  The 
latter  is  generally  considered  the  superior. 

Of  the  large  Last  Judgment,  Sir.  Joshua  Rey- 
nolds says. 

"  Three  naked  women  and  a  naked  man  join  together 
to  make  the  great  mass  of  light  of  the  picture.  One  of 
the  women,  who  is  looking  out  of  the  picture,  has  for 
that  reason  the  appearance  of  a  portrait,  and  is  said  to 
be  one  of  Rubens's  wives;  and  a  figure  rising  out  of  the 
grave  in  the  foreground  is  said  to  be  his  own  portrait. 

"The  Small  Last  Judgment:  As  in  the  large  picture 
the  blessed  are  the  most  conspicuous,  here  the  damned 
make  in  a  manner  the  subject  of  the  composition;  the 


298  OLD   PINAKOTHEK 

blessed  are  faintly  represented  at  a  distance  in  the  upper 
part  of  the  picture  near  Christ  and  the  Virgin  Mary. 
This  picture  is  far  superior  to  the  large  one  on  the  same 
subject  in  every  respect. 

f  "  But  there  is  another  picture  of  the  Fallen  Angels  of 
the  same  size  as  this,  which  even  exceeds  it.  It  Ts  im- 
possible  to  form  an  adequate  idea  of  the  powers  of 
Rubens  without  having  seen  this  picture:  he  seems  here 
to  have  given  a  loose  rein  to  the  most  capricious  imagina- 
tion in  the  attitudes  and  invention  of  his  fallen  angels,  who 
are  tumbling  one  over  the  other,  '  with  hideous  ruin  and 
combustion  down  to  bottomless  perdition.' 

"  If  we  consider  the  fruitfulness  of  invention  which  is 
discovered  in  this  work,  or  the  skill  which  is  shown  in 
composing  such  an  infinite  number  of  figures,  or  the  art 
of  the  distribution  of  the  light  and  shadow,  the  freedom 
of  hand,  the  facility  with  which  it  seems  to  be  performed, 
and  what  is  still  more  extraordinary,  the  correctness  and 
admirable  taste  of  drawing  of  figures  foreshortened,  in 
attitude  the  most  difficult  to  execute,  we  must  pronounce 
thi-  picture  to  be  one  oi  the  greatest  efforts  of  genius  that 
ever  the  art  has  produced." — (J.  R.) 

The  Massacre  of  the  Innocents  is  an  intensely 
dramatic  composition. 

"  Herod's  terrible  command  strikes  ruthlessly  at  all 
mothers  irrespective  of  rank.  Some  of  the  women  are 
very  richly  dressed,  whilst  others  are  clad  in  poor  gar- 
ments, and  some  even  scarcely  clothed  at  all.  Some  throw 
themselves  furiously  on  the  murderers  and  try  to  tear 
from  them  their  deadly  weapons;  others  piteously  plead 
for  mercy;  whilst  others  cast  themselves  weeping  over  the 
tiny  corpses  of  their  children,  which  they  bear  tenderly 
away,  or  hold  up  their  arms  in  wild  grief  to  heaven, 
whence  angels  descend  with  crowns  of  martyrdom." — 
(H.  K.) 

The  Conversion  of  St.  Paul  and  The  Destruc- 
tion of  Sennacherib  are  famous. 

"  The  horse  of  St.  Paul  is  in  a  remarkably  fine  attitude, 
and  there  is  a  great  spirit  and  bustle  through  the  whole 


MUNICH  299 

picture.  Tameness  or  insipidity  is  not  the  character  of 
Rubens:  in  whatever  he  employs  his  figures,  they  do  their 
business  with  great  energy.  The  Battle  of  Sennacherib 
is  the  companion  to  the  Fall  of  St.  Paul.  In  this  picture 
there  is  a  great  repose  of  shadow  in  large  masses :  the 
figures  and  horses  are  full  of  animation." — (J.  R.) 

In  Samson  overpowered  by  the  Philistines 
the  haste  and  eagerness  of  the  Philistines,  the  fruitless 
resistance  of  Samson,  and  the  malicious  joy  of  the  false 
Delilah,  are  admirably  expressed ;  and  the  management 
of  the  light  and  transparency  of  the  chiaroscuro  are  of 
uncommon  excellence." — (W.) 

Caster  and  Pollux  Carrying  off  the  Daughters 
of  Leucippus  is  worthy  of  first  mention  among 
Rubens's  mythological  works. 

"  The  Dioscuri,  mounted  on  spirited  steeds,  are  about 
to  carry  off  the  two  damsels.  The  calm  expression  of 
strength  in  the  male  and  the  violent  but  fruitless  resist- 
ance of  the  female  figures  form  a  striking  contrast.  One 
of  the  Dioscuri  is  assisting  his  brother  with  his  right 
arm  to  raise  one  of  the  females — she  vainly  imploring 
Heaven  for  aid, — whilst  with  his  left  hand  he  has  seized 
upon  the  other  sister,  who  is  attempting  to  escape.  Al- 
though the  Dioscuri  are  merely  represented  as  two  coarse 
and  powerful  men,  and  the  naked  damsels  have  only  com- 
mon and  rather  redundant  forms  and  Flemish  faces,  yet 
the  picture  altogether  produces  such  a  striking  effect, 
owing  to  the  admirable  manner  in  which  the  subject  is 
conceived,  the  power  of  imagination  which  it  displays, 
and  the  exquisite  colouring  and  keeping,  that  it  would 
never  occur  to  any  unprejudiced  spectator  to  regret  the 
absence  of  antique  forms  and  character. 

Another  great  work  of  splendid  dash  is  the 
Battle  of  the  Amazons. 

"With  great  judgment,  he  has  chosen  the  moment  when 
the  Amazons  are  driven  back  by  the  Greeks  over  the  river 
Thermodon ;  the  battle  takes  place  upon  a  bridge,  and  thus 
the  horror  of  the  scene  is  carried  to  the  highest  pitch.  Two 


300  OLD   PINAKOTHEK 

horses  are  in  savage  combat  upon  the  bridge;  one  of  the 
Amazons  is  torn  from  her  horse ;  a  second  is  dragged  along 
by  her  sable  steed.  Two  other  Amazons,  with  their  horses, 
are  falling  headlong  into  the  river  below,  where  again 
several  are  trying  to  save  themselves  by  swimming.  On  the 
other  side,  a  mounted  Amazon,  who  has  just  dashed  into 
the  water,  turns  half  round,  and  wounds  her  pursuer ; 
near  to  her  are  the  dead  bodies  of  several  Amazons, 
which,  though  already  half  naked,  are  about  to  be  robbed 
of  their  last  vesture.  In  the  distance,  beneath  the  arches 
of  the  bridge,  other  Amazons  are  seen  struggling,  in 
various  attitudes.  The  admirable  effect  of  the  whole  is 
increased  by  a  decided  and  masterly  arrangement  of  the 
light ;  the  colouring  is  forcible  without  being  overcharged. 
In  the  whole  range  of  modern  art  there  exists  no  other 
historical  battle-piece  worthy  of  being  compared  with 
Raphael's  Battle  of  Constantine;  and  it  has  the  advantage 
over  the  latter  in  the  well-planned  concentration  of  inter- 
est, and  in  the  contrast  afforded  by  the  male  and  female 
figures." — (W.) 

Rubens  never  tired  of  painting  his  second  wife, 
Helena  Fourment,  in  rich  costumes  that  set  off 
her  charming  face.  Here  we  find  four  portraits. 
In  one  she  is  seated  in  an  arm-chair  on  a  terrace 
in  a  sumptuous  gown  and  high  lace  collar  framing 
her  face  and  head : 

"She  seems  perhaps  a  little  astonished  at  herself;  but 
her  smiling  expression  preserves  something  of  the  in- 
genuousness of  innocent  candour.  The  execution  is  ad- 
mirably delicate,  easy,  and  sure,  and  the  flesh  tints,  the 
freshness  of  which  is  set  off  by  the  blue  of  the  sky,  have 
what  De  Piles  so  rightly  called  '  the  virginity  of  Rubens's 
tints.'  "— (E.  M.) 

Another  represents  Rubens  and  Helena  walking 
in  their  garden. 

"  His  arm  is  in  Helena's ;  her  pink  complexion  is  pro- 
tected from  the  sun  by  a  large  straw  hat.  Her  hair,  with 
its  golden  reflected  lights,  escapes  round  her  face  in  fair 


MUNICH  301 

curls.  Her  black  bodice  opens  over  a  chemisette;  her 
dull  yellow  skirt  is  turned  up  over  a  grey  petticoat,  and 
a  white  apron  falls  over  both.  She  holds  a  feather  fan 
in  her  hand,  and  a  pearl  necklace  sets  off  the  whiteness 
of  her  throat.  The  couple  approach  a  portico,  beneath 
which  a  table  is  spread  beside  the  statues  and  busts  which 
decorate  it ;  some  bottles  have  been  set  to  cool  in  a  large 
basin  on  the  ground.  The  air  is  warm,  the  lilacs  are  in 
bloom;  and  the  flower-beds  are  gay  with  many-coloured 
tulips.  At  the  side,  the  waters  of  a  fountain  fall  into  a 
basin.  The  pair  are  about  to  seat  themselves  under  this 
portico,  surrounded  by  domestic  animals,  with  the  blue 
sky  and  the  flowers  before  their  eyes. 

"  When  we  have  thoroughly  enjoyed  this  beautiful  pic- 
ture, our  eyes  involuntarily  turn  to  the  other  canvas  in 
the  same  room  of  the  gallery,  in  which,  on  an  equally  fine 
spring  day,  Rubens  painted  himself  in  a  honeysuckle 
arbour  with  his  wife  Isabella  whom  he  had  so  loved." — 
(E.  M.) 

"  The  air  of  sober  affection  in  the  couple,  who  are 
seated  in  an  arbour  of  honeysuckles,  the  expression  of 
calm  intellect  and  energy  in  the  head  of  Rubens,  and  of 
cheerful,  good-humoured  contentment  in  that  of  his  wife, 
lend  a  particular  attraction  to  this  picture,  and  speak 
direct  to  the  heart:  in  this  respect  it  differs  as  much  from 
the  peculiar  style  of  his  later  works  as  it  does  in  the  more 
strongly  marked  outlines,  the  less  glowing  colouring,  and 
the  careful  execution  of  the  well-adjusted  and  elegant 
attire  of  the  figures,  as  well  as  of  the  foliage  and  herbage 
in  the  foreground." — (W.) 


A  triumph  of  portraiture  also  is  the  group  of 
the  Count  and  Countess  of  Arundell  with  their 
dwarf  and  jester,  dog  and  hawk. 

The  famous  Lion  Hunt  is  full  of  the  dramatic 
fury  of  Rubens ;  but  the  landscape  is  said  to  be  by 
Wildens,  and  the  human  figures  by  Van  Dyck. 

One  of  the  most  admired  works  in  the  gallery 
is  a  Group  of  Children  of  extraordinary  beauty 
bearing  a  garland  of  fruit  and  flowers. 


302  OLD    PINAKOTHEK 

"  Boys,  carrying  a  festoon  of  fruit,  painted  by  Snyders, 
is  one  of  Rubens's  best  pictures  both  for  colouring  and 
drawing;  it  is  indeed  soft  and  rich  for  flesh  itself. 
Though  the  flowers  are  painted  with  all  that  beauty  of 
colour  which  is  in  nature,  yet  Rubens  has  preserved  such 
brightness  and  clearness  in  his  flesh,  though  in  contrast 
with  those  flowers,  as  perhaps  no  other  painter  could 
have  done."— (J.  R.) 

A  lovely  Madonna  and  Child,  surrounded  by 
flowers  and  eleven  boy  angels,  is  all  exquisitely 
painted. 

"  The  flowers  are  by  Velvet  Brueghel.  Those  pictures 
painted  by  Rubens,  in  conjunction  with  Snyders  and 
Brueghel,  are  almost  as  valuable  as  those  painted  solely 
by  his  own  hand." — (W.) 

Twelfth  Night,  by  Jordaens,  afforded  the 
painter  a  brilliant  opportunity  for  depicting  food 
and  crockery,  as  well  as  human  figures. 

"  A  merry-making  of  Jordaens  is  by  far  the  best  pic- 
ture I  ever  saw  of  his  hand.  There  is  a  glow  of  colour 
throughout  and  vast  force ;  every  head  and  every  part  per- 
fectly well  drawn :  vulgar  tumultuous  merriment  was 
never  better  expressed ;  and  for  colouring  and  strength, 
few  pictures  of  Rubens  are  superior.  There  is  a  little 
grey  about  the  women's  dress ;  the  rest  are  all  warm  col- 
ours and  strong  shades." — (J.  R.) 

Among  the  notable  portraits  by  Van  Dyck  we 
may  note  one  of  Himself  in  youth ;  a  young  man 
supposed  to  be  Frans  Snyders;  portraits  of  an 
Antwerp  Burgomaster  and  his  Wife ;  of  the  Duke 
Charles  Alexander  de  Croi,  an  enormously  stout 
man  with  effeminate  features ;  of  Heinrich  Libert! 
of  Groningen ;  of  Peter  Snayers,  the  landscape 
painter ;  and  of  Liberti,  the  organist. 

A  Madonna  and  Child  with  St.  John  is  admir- 
ably composed  and  executed. 


MUNICH  303 

The  Infant  Saviour  is  painted  from  a  fine  model 
whose  limbs  are  drawn  with  consummate  skill.  In 
execution  the  flesh  tones  are  distinguished  by  soft 
shadows  and  reflected  lights  in  which  greys  and 
browns  commingle. 

The  Virgin  and  Saints  Mourning  over  the 
Dead  Christ  is  painted  in  the  style  of  Rubens. 

"  The  whole  figure  of  Christ  is  equally  light ;  which, 
with  the  help  of  the  white  linen  on  the  Virgin's  knee, 
makes  a  large  mass  of  light :  her  head  and  the  head  of 
Mary  Magdalen  make  the  lesser  lights.  St.  John's  drap- 
ery, which  is  a  light  red,  makes  the  light  lose  itself  by 
degrees  in  the  ground." — (J.  R.) 

Velvet  Brueghel  has  a  striking  Crucifixion  with 
soldiers  at  daggers  drawn — over  the  robes  of 
Christ.  The  city  of  Jerusalem  and  mountains  are 
in  the  background.  On  the  left,  the  sky  is  re- 
markable for  the  prodigious  multiplicity  of  its 
details.  It  is  painted  on  a  large  sheet  of  copper. 
The  execution  is  full  of  delicacy  and  lightness. 

The  Family  Picture,  by  Frans  Hals,  belongs 
to  his  best  period. 

"  The  finest  family  portrait  I  know  is  in  the  Munich' 
Gallery.  Here  the  easy  arrangement,  lively  heads,  the 
admirably  painted  hands,  recalling  Van  Dyck,  and  the 
delicately  cool  keeping,  render  this  a  very  attractive 
piece." — (W.) 

David  Teniers  the  Younger  has  several  fine 
works  here. 

"  Of  the  pictures  in  Munich  Gallery  I  observed  the 
following:  A  Drinking  Party  of  ten  persons,  cabinets  of 
masterly  carrying  out  in  a  silvery  tone;  a  Dinner  of 
Monkeys  and  a  Monkey  and  Cat  Concert,  of  extraordi- 
nary delicacy  of  tone  and  of  charming  humour ;  Peasants 
Dancing  and  Playing  Cards  in  a  Dutch  Alehouse;  of  the 
same  time  and  similar  tone,  finely  composed  and  with  the 


304  OLD   PINAKOTHEK 

figures,  despite  their  larger  proportions,  very  delicately 
.treated,  a  Peasant  Wedding  in  the  open  air,  dated  1651 ; 
and  still  richer  in  composition  and  warmer  in  tone  a 
party  smoking  and  playing  cards  at  a  round  table." — 
(C.) 

Trie  Man  with  a  Cap  is  a  picture  that  appeals 
to  a  painter's  eye.  It  represents  Rembrandt  at 
an  advanced  age,  and  is  obscured  by  dark  shad- 
ows. 

"  The  crimson  velvet  drapery,  dark  fur  cap  and  green- 
grey  background  suggest  rather  than  realise  a  chromatic 
harmony." — (C.  L.  E.) 

A  Steward  and  his  Mistress,  by  Thomas  de 
Keyser,  is  notable  as  having  little  or  no  colour  ex- 
cept the  flesh  tints.  The  man  is  explaining  his 
accounts  to  the  lady,  who  appears  to  be  in  a  bad 
temper.  It  is  a  vigorous  work,  and  might  be  de- 
scribed as  a  study  in  black  and  white. 

Frans  Van  Mieris  is  fully  represented  by  six- 
teen pictures.  The  Fainting  Lady  is  particularly 
noticeable  for  the  marvellous  representation  of  the 
cream-coloured  satin  dress  the  invalid  wears.  She 
is  fainting  in  the  arms  of  an  old  woman,  and  the 
physician  is  examining  the  contents  of  a  bottle 
which  he  holds  up  to  the  light.  The  figures  are 
only  about  eight  inches  high,  but  are  beautifully 
lighted  and  drawn.  There  are  variants  of  this 
subject  in  other  galleries. 

"  There  are  some  small  pictures  of  the  rarest  beauty, 
viz.,  his  own  portrait  with  a  wine-glass.  The  features 
breathe  the  utmost  cheerfulness ;  the  execution,  in  the  pur- 
est golden  tone,  is  admirable.  Another  represents  boys, 
one  beating  a  drum,  another  blowing  a  flute..  The  full 
light,  the  clear  golden  tone,  the  fine  enamel,  and  the  solid 
impasto  render  this  small  picture,  of  only  6  inches  high 
by  sk  wide,  a  perfect  gem.  As  admirable  specimens  of 


MUNICH  305 

single  figures  of  ladies  in  elegant  attire  T  may  quote  one 
playing  on  the  lute  (No.  415)  and  two  examples  of  an- 
other giving  an  almond  to  her  parrot  (Nos.  188  and  417) 
as  the  true  originals  of  so  many  of  the  copies  attributed 
to  this  master." — (C.) 

Pieter  de  Hooch's  Interior  shows  a  room 
lighted  by  the  reflection  of  the  sunlight : 

"  Although  the  back  of  the  girl  reading  is  all  that  is 
seen  in  the  room,  yet  the  impression  of  peaceful  domestic 
happiness  is  given  in  a  high  degree.  In  the  kind  of  har- 
mony and  also  in  the  unusually  careful  touch,  the  in- 
fluence of  Ter  Borch  is  here  recognised." — (C.) 

Netscher,  who  followed  Metsu  in  picturing 
scenes  and  figures  from  the  common  people,  has 
an  interesting  work  here  called  the  Shepherd 
Lovers,  dated  1681. 

Gerard  Dow's  Quack  stands  on  a  raised  platform 
in  front  of  a  house,  offering  his  cures  to  the  by- 
standers, among  whom  are  a  gardener,  a  sportsman 
and  a  market-woman.  The  figures  are  all  life-like; 
and  the  curiosity  of  the  spectators  is  well  contrasted 
with  the  assurance  of  the  quack.  This  is  singular 
in  being  perhaps  the  only  scene  by  this  master  in 
the  open  air ;  and  it  is  interesting  to  note  the  painter 
himself  looking  out  of  the  window  with  his  palette 
in  his  hand. 

Brouwer  has  nine  works  here,  six  of  which  are 
masterpieces. 

"A  party  of  peasants  at  a  game  of  cards  (No.  199) 
affords  an  example  of  the  brightness  and  clearness  of 
those  cool  tones  in  which  he  evidently  became  the  model 
of  Teniers.  Spanish  soldiers  throwing  dice  (No.  207)  is 
equally  harmonious,  in  a  subdued  brownish  tone.  A 
surgeon  removing  the  plaster  from  the  arm  of  a  peasant 
(No.  465)  is  not  only  most  masterly  and  animated  in 


306  OLD    PINAKOTHEK 

expression,  but  is  a  type  of  his  bright,  clear  and  golden 
tone  and  singularly  free  and  light  in  touch.  Card-players 
fighting  furiously  (No.  273)  is  in  every  respect  one  of 
his  best  pictures.  The  momentary  action  in  each  figure, 
all  of  them  being  individualised  with  singular  accuracy 
even  as  regards  the  kind  of  complexion,  is  incomparable, 
the  tenderness  of  the  harmony  astonishing,  and  the  execu- 
tion of  extraordinary  delicacy.  A  village  barber  dressing 
the  wounded  foot  of  a  peasant  (No.  527)  affords  an 
admirable  example  of  reddish  harmony  and  melting 
beauty  of  touch." — (C.) 

Of  Ter  Borch  there  is  A  Trumpeter  Bearing 
a  Letter  to  a  Lady  in  White  Satin,  which  seems 
to  be  the  sequel  to  a  similar  picture  in  Dresden 
(see  page  272).  The  lady's  dress  and  her  fur- 
trimmed  jacket  are  marvellously  treated. 

Eglon  Van  der  Neer's  Lady  in  a  White  Satin 
Robe  Tuning  Her  Lute  is  a  splendid  portrait  of 
this  master's  first  period.  His  Fainting  Lady  re- 
calls the  most  celebrated  works  of  this  genre  by 
Mieris  and  Netscher.  This  is  of  larger  dimensions 
than  is  usual  with  Van  der  Neer:  it  is  executed  in 
full  light  with  great  warmth  and  harmony  of 
colour. 

Munich  is  rich  in  Wouvermans.  Of  the  seven- 
teen pictures  by  his  brush  here,  the  Grand  Stag 
Hunt  is  a  vast  and  magnificent  work,  surpassed 
by  none  of  this  master's  paintings.  The  other 
compositions  most  worthy  of  study  are : 

"  a  horseman  dismounted  at  a  bridge  which  leads  over 
a  small  waterfall  (No.  361),  only  9!  in.  high  by  8  in. 
wide, — a  little  gem  for  the  beauty  of  reflected  sunlight 
and  the  lightness,  freedom,  and  delicacy  of  touch.  A 
Battle  between  the  Swedish  and  Imperial  troops.  In  the 
representation  of  momentary  action,  in  the  expression  of 
a  raging  battle,  and  in  precision  of  execution,  this  is  a 
picture  of  the  highest  order.  The  plundering  of  a  village 


MUNICH  307 

by  soldiers    is  striking  in  motive,  not  less  admirable  in 
finish  and  in  better  preservation." — (C.) 

One  of  the  best  examples  of  Everdingen's  Nor- 
wegian landscapes  is  the  Cascade  (dated  1650) 
with  its  waterfall  in  a  picturesque  and  savage  spot, 
which  is  being  viewed  by  three  travellers  of  dis- 
tinguished appearance.  The  latter  were  probably 
painted  by  Philip  Wouvermans. 

Jan  Both  has  several  fine  landscapes,  with  figures 
painted  by  his  brother  Andre,  Wouvermans,  or 
K.  du  Jardin.  All  of  them  are  to  be  admired  for 
their  warm  golden  and  luminous  tones.  The  most 
remarkable  is  Mercury  Charming  Argus  to 
Sleep,  which  Decamps  cites  as  this  painter's 
masterpiece. 

The  Dune  is  one  of  the  finest  of  Ruysdael's 
early  pictures.  Its  simplicity  and  breadth  of  treat- 
ment make  it  worthy  of  his  best  period.  One  would 
hardly  think  that  so  modest  a  subject  could  be 
made  so  attractive. 

"  A  white,  hardly-traceable  path  winds  through  con- 
fused land;  below,  a  blackish  stream  flows  through  thick 
vegetation;  around  are  coarse  and  sparse  clumps  of 
stunted  trees  and  bushes,  tangled  and  thorny.  At  the  top 
of  the  hillock  approached  by  the  road,  the  vegetation  be- 
comes more  sparse  till  the  top  shows  bare  but  for  one 
tree  on  the  right.  A  wagon  is  just  disappearing  beyond 
the  crest  of  the  eminence.  A  traveller  is  seated  on  the 
grass  in  the  solitude  at  the  top  of  the  hill,  so  absorbed  in 
contemplation  that  he  does  not  see  a  shepherd  who  ap- 
proaches him.  The  place  is,  however,  quite  ordinary  in 
character,  and  neither  the  lines  nor  the  colours  of  the 
landscape  are  particularly  interesting;  but  this  poor  scene 
has  appealed  to  the  soul  of  the  painter:  in  it  he  has  found 
the  echo  of  his  thoughts ;  and  he  has  not  failed  to  pro- 
duce a  masterpiece  with  it." — (E.  M.) 

Of  the  five  fine  landscapes  by  Hobbema,  The 


308  OLD    PINAKOTHEK 

Cottage  Under  the  Oaks  is  perhaps  the  most 
characteristic.  Here  we  have  a  house  under  a 
grove  of  trees  relieved  against  a  mass  of  white 
cloud.  On  the  right,  a  road  runs  through  a  pool 
of  water.  The  work  is  charming  and  somewhat 
resembles  Ruysdael. 

A.  Van  der  Neer  is  represented  by  a  large  and 
beautiful  picture  of  A  Lake  in  the  Middle  of  a 
Forest  the  trees  of  which  are  reflected  in  the 
water.  This  picture  proves  that  the  celebrated 
painter  of  moonlight  effects  was  equally  able  to 
render  nature  under  sunlight. 

J.  van  Huysum  has  a  Basket  of  Flowers  and 
Fruits. 

"  Two  masterpieces  among  those  of  this  master,  un- 
equalled in  the  genre  taught  him  by  his  father." — (L.  V.) 

Among  the  French  masters,  Poussin  holds  the 
first  place.  He  is  represented  by  five  pictures. 
King  Midas  is  able  to  bear  comparison  with  the 
most  famous  Bacchanales  of  this  painter. 

The  Adoration  of  the  Shepherds  and  the  En- 
tombment of  Christ  are 

"  two  superb  works,  full  of  elevation  and  religious  feeling 
in  which  are  clearly  revealed  strength  of  expression  and 
depth  of  thought."— (L.  V.) 

Claude  Lorrain  has  two  pairs  of  pendants  that 
are  capital  works. 

"  The  first  pair  consists  of  a  Sea  Port,  confined,  as  is 
habitual  with  Claude,  between  two  palaces  of  classical 
architecture,  and  the  other  a  calm  Landscape  where 
cattle  are  fording  a  river  under  the  shadow  of  large  trees. 
In  the  one  the  rising  sun  throws  its  silvery  rays  that 
break  on  the  waves ;  and  in  the  other  the  setting  sun  gilds 
and  purples  the  mountain  peaks.  The  second  pair, 
which  is  smaller,  also  represents  Morning  and  Evening, 
but  these  pictures  are  enlivened  with  Biblical  subjects. 


VIRGIN  WITH  THE  CUT  PEAR— Durer 

VIENNA 


MUNICH  309 

In  the  first,  Hagar  is  leaving  Abraham's  house  with  her 
child  Ishmael ;  and  in  the  second,  she  is  succoured  by  an 
angel  who  is  showing  her  a  spring.  These  figures, 
painted  doubtless  by  Filippo  Lauri,  are  bathed  in  the 
warm,  luminous,  burning  tones  of  a  southern  clime  during 
the  dog-days.  They  are  two  marvellous  works  among  the 
marvels  of  Claude." — (L.  V.) 

Munich  is  unusually  rich  in  Murillo's  subjects 
of  humble  life. 

Two  Peasant  Boys  Eating  a  Melon  represents 
two  urchins  seated  on  the  ground,  one  eating  a 
slice  of  melon  and  the  other  observing  him  while 
he  dips  his  hand  in  a  dish,  while  a  dog  seated  on 
the  right  watches  them  both.  On  the  ground  is 
a  basket  of  fruit  and  a  wallet.  The  other  picture, 
Two  Peasant  Boys  Eating  Grapes  and  a  Melon, 
is  similar:  one  boy  is  eating  grapes  from  a  bunch 
which  he  holds  over  his  mouth  with  one  hand  while 
in  the  other  is  a  slice  of  melon.  His  companion 
has  a  melon  and  a  knife  in  his  right  hand,  and  a 
slice  of  melon  in  his  left.  On  the  left  is  a  basket 
of  grapes. 

Another  famous  picture  represents  Boys  Play- 
ing Dice,  two  of  whom  are  throwing  dice  while 
the  third  is  eating  a  crust  of  bread,  at  which  a  dog 
gazes  hungrily.  A  basket  of  fruit  and  a  broken 
jar  are  on  the  ground. 

Two  Peasant  Girls  are  seated  in  a  landscape 
near  a  wall,  one  is  counting  money  and  the  other  is 
watching  her.  Near  the  latter  is  a  basket  of  grapes. 
More  famous,  however,  is  the  Old  Woman  and 
Boy,  the  former  seated  on  the  right  hunting  for 
vermin  in  the  head  of  the  boy  who  lies  on  the  floor 
eating  a  piece  of  bread  and  playing  with  a  dog. 


THE    IMPERIAL    PICTURE    GALLERY 

VIENNA 

THE  Picture  Gallery,  housed  in  one  of  the  two 
Imperial  Museums  erected  in  the  Burg-Ring,  in 
1872-1889,  was  removed  here  in  1891  from  the 
Belvedere,  a  chateau  built  for  Prince  Eugene  of 
Savoy  in  1693-1724.  The  pictures,  numbering 
about  1700,  hung  in  the  Belvedere  from  1776  to 
1891,  and  represent  several  collections.  The  fine 
collection  made  by  the  Emperor  Rudolph  II.  was 
greatly  diminished  by  plunder  and  sales;  that  of 
the  Archduke  Leopold  William,  stadtholder  of 
the  Netherlands  in  1646-1656,  is  remarkable  for 
its  pieces  by  Dutch  masters  and  fine  Venetian 
works ;  and  the  collection  of  the  Archduke  Ferdi- 
nand of  Tyrol  contains  many  gems.  The  only 
additions  are  modern  pictures  chiefly  by  Austrian 
painters.  The  Belvedere  gallery  is  particularly 
famed  for  its  works  by  Diirer  and  Rubens  and  its 
fine  examples  of  Venetian  masters.  It  is  also 
strong  in  portraits. 

Among  so  many  masterpieces  of  high  rank, 
Paris  would  be  embarrassed  to  award  the  apple. 

The  Virgin  with  the  Cut  Pear  belongs  to 
Diirer's  middle  period,  and  receives  its  name  from 
a  piece  of  pear  that  the  Child  is  holding.  The 
white-veiled  Virgin  bends  tenderly  over  Him, 
gracefully  draped  in  blue. 

"  The    Virgin's    head    exhibits    a    profound    tenderness 
and    fervour.    The   painting    is    uncommonly    limpid    and 
310 


VIENNA  311 

harmonious ;  the  flesh  tints  are  rosy  in  the  lights  and  grey 
in  the  shadows  and  the  hair  is  rendered  with  an  in- 
credible minuteness  and  precision.  Of  all  Diirer's  pictures 
of  the  Virgin  this  is  the  most  perfect  and  the  best  pre- 
served."—(M.  T.) 

The  Martyrdom  of  the  Ten  Thousand  Saints 
in  the  Reign  of  King  Sapor  II.  of  Persia  con- 
sists of  a  multitude  of  small  figures  arranged  in 
groups  in  a  rich  landscape. 

"  Nothing  but  executions,  with  death  in  every  shape 
and  details  of  the  most  horrible  kind,  can  hardly  be 
deemed  a  very  attractive  subject ;  but  it  gave  the  artist 
the  opportunity  of  representing  a  number  of  nude  figures 
in  movement  and  of  displaying  his  skill  in  bold  fore- 
shortening. In  the  foreground,  on  the  right,  appears  the 
King  on  horseback,  arrayed,  like  his  suite,  in  Turkish 
costume.  Almost  in  the  middle  of  the  picture,  as  un- 
concerned spectators  of  the  scene,  stand  Diirer  and  his 
friend  Pirkheimer.  Diirer,  dressed  entirely  in  black,  holds 
in  his  hand  a  little  scroll  on  which  is  the  inscription : 
Iste  faciebat  anno  domini  1508  Albertus  Diirer  Alemanus. 
The  excellence  of  the  drawing,  the  delicate  and  refined 
execution  and  the  solidity  and  depth  of  the  colouring 
combine  to  make  one  forget  the  terrible  nature  of  the 
subject." — (M.  T.) 

The  magnificent  All  Saints  picture,  also  called 
the  Adoration  of  the  Trinity,  was  painted  for 
the  chapel  of  an  almshouse  in  Nuremberg  which 
was  dedicated  to  All  Saints.  For  it  Diirer  also 
designed  an  elaborate  carved  frame ;  for  this  altar- 
piece  consisted  of  a  single  picture  without  wings. 
It  requires  a  great  deal  of  study  to  appreciate 
this  great  work.  It  is  arranged  in  five  complete 
circles,  the  lower  one  consisting  of  a  charming  coast 
landscape  with  an  inlet  on  which  boats  are  sailing. 
On  the  right  bank  stands  a  little  full-length  figure 


312    THE  IMPERIAL  PICTURE  GALLERY 

of  Diirer  in  fur-trimmed  cloak  holding  a  tablet  with 
his  name  and  date,  1511. 

"  How  was  the  Christian's  heaven  reflected  in  the  ,soul 
of  aTTerman?  Here  is  no  assemblage  of  experts,  of  men 
of  independent  spirit,  eager  and  ready  for  discussion. 
All  and  each  are  absorbed  in  a  lively  feeling  of  joy  and 
satisfaction  at  the  deliverance  of  the  creature  from  its 
suffering  through  the  mystery  of  the  divine  Passion. 
What  a  throng  of  happy  beings  there  are  even  in  the 
bright  distant  background,  and  how  eagerly  they  press  for- 
ward towards  the  fount  of  life !  The  Almighty  Father, 
throned  in  indescribable  majesty,  holds  before  him  the 
token  of  the  world's  redemption — the  Crucified  Mediator. 
Seraphim  in  a  circle  float  above  the  Trinity,  while  on 
either  side  is  a  choir  of  ministering  angels  holding  the 
instruments  of  the  Passion.  Below  are  ranged  the 
saints:  on  our  left,  and  consequently  on  the  right  of  the 
Trinity,  the  martyrs  of  the  New  Testament,  chiefly  repre- 

vt*1"^  sented  by  females,  led  by  the  Virgin,  in  the  midst  of 
whom  appear  Moses  and  David,  with  St.  John  the  Baptist 
at  their  head.  The  predominating  colours  in  the  draperies 

^ '  of  these  saints  are  blue,  green  and  rose,  while  the  mem- 
bers of  the  church  militant  below  are  chiefly  clothed  in 
red  and  gold,  and  are  represented  not  by  any  particular 
individuals,  but  in  accordance  with  German  ideas  at  that 
period,  by  different  classes  of  society.  On  the  left  are 
the  clergy  with  the  Pope  at  their  head.  A  cardinal  is 
turning  round  with  a  gesture  of  encouragement  to  the 
donor,  Landauer,  who  kneels  awestruck  in  an  attitude 
of  humble  adoration  with  the  female  members  of  his 
family  behind  him.  On  the  other  side  the  circle  is  com- 
pleted by  the  members  of  the  laity.  First  comes  the 
Emperor  under  the  ideal  form  of  the  aged  Charlemagne, 
in  gold  embroidered  robes ;  behind  him  are  kings  and 
princes,  and  a  doge ;  and,  farther  off  again,  a  knight 
kneeling  stiffly  in  a  suit  of  armour  richly  inlaid  with  gold. 
The  light-hearted  peasant,  too,  with  his  flail  is  not  want- 
ing, and  there  is  a  touch  of  irony,  quite  in  harmony  with 
the  times,  in  the  way  in  which  a  young  burgher  appears 
to  be  greeting  him,  as  much  as  to  say,  '  What,  you  here, 
too?' 

"  The    whole   picture   has   a  golden,  tender,   hazy  look. 


VIENNA  313 

It  does  not  absorb  or  distract  the  mind  by  details,  but 

fixes  attention  by  the  unity  of  sentiment,  which  is  its 
pervading  characteristic,  by  the  inward  feelings  of  joy 
and  satisfaction  reflected  in  the  countenance  of  the  saints, 
by  the  charm  of  its  delicate  execution  and  by  the  clear 
and  lively  harmony  of  colour  that  is  able  to  glorify  every 
part  of  the  subject.  There  is  an  ideal  intention  in  the 
choice  of  this  colouring.  No  such  attempt  was  ever  made 
by  Diirer  or  any  other  artist  to  spiritualise  colour.  Tt 
is  as  though  he  had  tried  to  produce  a  pictorial  equivalent 
for  the  music  of  the  spheres.  Even  to  this  very  day  the 
picture  dazzles  us  with  its  undiminished  brilliancy — a  per- 
fect jewel  of  art."— (M.  T.) 

Holbein  has  two  splendid  portraits,  male  and 
female,  here.  Not  the  slightest  tradition  has  sur- 
vived regarding  the  identity  of  the  Young  Man. 

"  A  beardless  young  man  stands  against  a  table  covered 
with   a   green    cloth   and   looks    out   at    the   spectator.     A 
round  black  hat  rests  upon  his  short  hair;  over  his  coat 
of  reddish  violet  silk  lies  a  black  furred  mantle;  a  bit  of 
his  shirt  shows  in  front.     The  left  hand  grasps  a  glove, 
the  right  rests  on  the  table  and  holds  a  half-open  book. 
Rings    adorn   both   hands.     To    the   right    stands   a    desk. 
Upon    the    grey    background     appears     this     inscription : 
'  Anno.   Dni.    1541.     Etatis.     Sua,   28.'     In    design   this    is 
one    of    the    most    successful    of    all    Holbein's    portraits. 
Nothing   could    well    be   simpler,    nothing   could   be   more 
complete  and   coherent.     The  turn   of  the  body,  the  out-V" 
look  of  the  face,  the  action  of  the  hands,  the  placing  of  V' 
every    line,   of    every   tint,    of   every   step    from    light    to  v 
shadow,   lead  to  that  ahsnjqfag  flpfty  whi<ft_ja  Jhe.  aim  of  v^ 
j£t/'—  (W.  A.) 

"  A  small  female  portrait  most  delicately  executed  and 
true  to  life,  is  a  citizen's  wife  depicted  in  half-length 
figure,  and  apparently  at  the  most  about  thirty  years  of 
age ;  her  whole  appearance  is  unusually  fascinating  from 
her  air  of  refined  dignity,  noble  repose,  confidence,  gentle- 
ness and  intelligence;  her  beautiful  blue  eyes  express  a 
kindliness  of  nature ;  in  her  fine  lips,  in  the  delicate  con- 
tour of  the  throat,  and  in  the  almost  entire  absence  of 


314    THE   IMPERIAL   PICTURE   GALLERY 

eyebrows,  she  exhibits  a  certain  resemblance  to  the  Dres- 
den Madonna ;  she  wears  over  her  brown  hair  a  little 
white  cap,  ornamented  with  gold  and  falling  from  it  in  a 
black  veil.  The  neck  is  seen,  the  shoulders  are  covered ; 
she  wears  a  violet  brown  dress  trimmed  with  black,  red 
velvet  sleeves  and  white  cuffs  from  which  emerge  the 
life-like  and  somewhat  masculine  hands.  A  large  gold 
medal,  apparently  containing  two  figures  sacrificing  at  an 
altar,  is  suspended  on  her  breast." — (A.  W.) 

St.  Catherine  in  a  Landscape,  attributed  to 
Hubert  Van  Eyck,  is  probably  the  work  of  John. 

"We  observe  in  it  the  same  technique  and  the  same 
kind  of  sentiment  as  in  the  Virgin  and  Child  in  this 
gallery.  The  two  pictures,  moreover,  arc  so  exactly 
similar  in  size  that  they  may  be  regarded  as  pendants. 
The  prodigiously  careful  execution  of  the  accessories  and 
of  the  landscape  displays  the  realistic  spirit  of  the 
School.  The  personages  are  of  elegant  and  slender  pro- 
portions, which  in  certain  parts,  the  hands  notably,  ap- 
proach leanness.  The  heads,  in  spite  of  the  delicacy  of 
the  forms,  have  a  grave  and  almost  rude  character.  The 
vestments  with  broken  folds,  the  angular  lines  of  which 
are  equivalent  to  John's  signature,  make  amends  for  the 
fault  by  the  magic  splendour  and  intensity  of  their  col- 
our,— those  of  the  Virgin  especially.  Certain  details,  such 
as  the  architectural  ornaments  of  the  niche  in  which 
Mary  is  seated,  and  her  long  floating  hair,  are  worked 
with  such  care  that  their  delicacy  is  almost  beyond  belief." 
—  (A.  M.) 

A  Descent  from  the  Cross,  formerly  attributed 
to  Van  Eyck,  is  now  given  to  his  School.  The 
holy  women  are  grouped  with  rare  skill,  and 
their  poses  and  gestures  have  more  freedom 
than  is  common  in  the  works  of  John. 

The  gallery  possesses  one  of  Memling's  best 
works,  formerly  attributed  to  Martin  Schongauer. 
This  is  a  little  portable  altar-piece.  The  panel  in 


VIENNA  315 

the  middle  represents  Jesus  on  the  Cross  with 
His  mother,  St.  John  and  the  kneeling  donors; 
on  the  right  wing,  St.  Veronica;  and  on  the  left, 
Magdalen  and  four  angels  hovering  above  her. 

"  The  whole  composition  breathes  a  holy  and  deep 
grief:  this  emotion  finds  its  most  tragic  note  in  the 
mother  of  the  expiatory  victim,  who  embraces  the  cross 
with  indescribable  grief.  The  portraits  of  the  donors  are 
marvellous,  particularly  the  noble  and  intelligent  figure  of 
the  young  woman :  she  lowers  her  head  in  saintly  medita- 
tion, while  her  husband  lifts  his  towards  the  Redeemer 
with  an  expression  of  ardent  prayer.  The  two  saints  that 
occupy  the  wings  charm  the  mind  and  eye  by  grandeur 
combined  with  originality.  The  materials  are  draped  in 
a  true  and  graceful  manner  and  the  colour  is  natural 
and  harmonious ;  but  it  has  not  the  brilliancy  that  we  ad- 
mire in  John  Van  Eyck."— (B.  P.) 

Memling  has  also  a  striking  diptych  represent- 
ing Bearing  the  Cross  and  the  Resurrection. 

"  Although  the  personages  are  somewhat  long  and 
thin,  they  possess  a  magical  grace,  and  with  the  excep- 
tion of  a  young  man  in  the  foreground,  their  gestures  and 
attitudes  are  perfectly  natural.  The  heads  are  full  of  the 
purest  feeling  of  beauty  and  the  modelling  reveals  an  im- 
portant progress  in  art.  The  luminous  and  harmonious 
colour  fascinates  our  eyes.  The  finish  of  the  accessories, 
stuffs,  and  arms  has  never  been  surpassed  by  any  master." 
~(B.  P.) 

A  Virgin  Enthroned  is  attributed  to  Hugo  Van 
der  Goes,  but  it  has  all  the  characteristics  of  Mem- 
ling's  style. 

"  The  feeling  is  pious,  noble  and  intimate ;  the  execu- 
tion is  of  charming  simplicity  and  serenity.  Mary,  seated 
on  a  throne  in  the  open,  holds  her  Son,  to  whom  an 
angel  offers  an  apple ;  facing  the  angel  is  the  donor. 
Nothing  could  be  more  amiable  and  attractive  than  the 
face  of  the  supernatural  visitor.  The  landscape,  as  in  all 


3i6    THE   IMPERIAL   PICTURE   GALLERY 

the  contemporary  works,  is  treated  with  extraordinary 
care.  It  would  seem  as  if  the  artists,  after  having  sub- 
stituted an  animated  nature  for  the  monotonous  splendour 
of  backgrounds  of  gold,  could  never  tire  of  reproducing 
scenes  of  the  country.  They  therefore  untiringly  adorned 
their  landscapes  with  hills,  trees,  towns  with  numerous 
towers,  grass,  streams  and  flowers." — (B.  P.) 

The  wings,  in  the  same  room,  are  of  very  inferior 
work, — probably  by  another  hand. 

Jerome  Bosch  has  two  Temptations  of  St. 
Anthony. 

"  In  these  works  he  shows  much  inventiveness.  He 
creates  a  strange  world,  in  which  baroque  forms  become 
normal  forms.  The  execution  is  particularly  remarkable 
by  the  intense  splendour  of  its  colour,  and  its  happy  light 
effects."— (B.  P.) 

Joachim  Patenier  has  two  notable  works:  the 
Baptism  of  Christ  and  St.  Jerome  in  the 
Desert. 

"  The  subjects  are  evidently  as  simple  accessories  of 
landscape,  which  constituted  the  painter's  chief  aim.  The 
grandiose  conception  of  nature  and  simple  handling  are 
still  strangers  to  the  artist :  caring  little  for  the  general 
effect,  he  is  prodigal  with  his  details  and  overloads  his 
picture  with  them.  His  colouring  even  does  not  look 
natural,  particularly  in  the  depths,  where  green  is 
strangely  allied  with  blue." — (B.  P.) 

The  Flight  into  Egypt,  by  Herri  de  Bles,  has 
a  landscape  background.  The  picture  is  very 
small  (9  in.  by  5  in.)  fine,  curious  and  charming. 

Almost  on  the  eve  of  his  death  (1515)  Giovanni 
Ucllini,  the  austere  painter  of  Alacfonnas,  painted 
trTe~~Young  Woman  at  Her  Toilette. 

"  Seated  half  nude  at  her  open  window  through  which 
we  see  a  smiling  landscape,  she  is  nonchalantly  combing 


VIENNA  317 

her  beautiful  golden  hair.  This  was  the  testament  of  the 
aged  painter  who  had  seen  his  pupils  Giorgione  and  Titian 
grow  great  around  him,  and  who,  warmed  by  their  flame, 
was  gently  converting  himself  to  the  ideas  of  the  Renais- 
sance."—  (P.  M.) 

Raphael's  famous  Madonna  al  Verde  represents 
the  Virgin  steadying  the  as  yet  faltering  steps 
of  her  Child,  who  is  advancing  towards  the  infant 
St.  John  with  a  cross,  which  the  latter  is  on  his 
knees  to  receive.  The  figure  of  the  Virgin,  at  once 
gentle  and  proud,  is  very  beautiful,  especially  in 
the"contour  of  her  shoulders,  which  the  dress  does 
not  hide,  and  the  drawing  of  the  hands.  Raphael 
has  in  this  instance  rivalled  Leonardo  in  grace,  and 
he  lias  also  drawn  inspiration  from  him  in  the  land- 
scape which  forms  a  frame-work  for  the  composi- 
tion. The  robust  vegetation  in  the  foreground, 
which  gives  the  picture  its  name,  forms  a  very 
charming  contrast  with  the  beautiful  panorama  in 
the  background  with  the  lake,  the  town,  and  the 
mountains  bathed  in  the  rays  of  the  setting  sun. 

Bonifazio  Veneziano  has  two  beautiful  com- 
panion pieces  of  the  Annunciation,  somewhat 
reminiscent  of  Titian. 

Benpzzo  Gozzplj,  whose  works  are  so  rare  in 
public  galleries,  is  represented  here  by  a  Virgin 
and  Child,  which  is  full  of 
cism  of  his  master,  Fra  Angelico. 

There  are  six  of  Palma  Vecchio's  beautiful 
ladies  in  this  gallery,  one  of  which  is  the  cele- 
brated Violante,  who  wears  a  blue  bodice  with 
sleeves  of  yellowish  brown  brocade  and  a  blue 
mantle  draped  over  her  left  arm.  Her  flowing 
hair  is  held  in  place  by  a  golden  ribbon.  Her 
eyes  are  dark,  her  complexion  fair  and  her  ex- 


318    THE    IMPERIAL   PICTURE   GALLERY 

pression  beautiful.     She  wears  a  violet  in  her 
dress,  probably  in  allusion  to  her  name. 

"  The  charm  of  the  picture  is  overpowering.  It  fas- 
cinates by  an  intense  femininity,  a  femininity  which  in 
Titian  and  even  in  Giorgione  is  leavened  too  often  with 
a  touch  of  masculine  severity.  Palma  is  content  with 
woman  as  she  is." — (W.  A.) 

Palma  Vecchio's  Visitation  is  a  grand  composi- 
tion, but  very  remote  in  style  from  Raphael's  idea 
of  the  same  subject,  and  in  colour  approximating 
to  Titian's  fine  works.  Splendid  also  are  two  pic- 
tures of  the  Virgin  and  Child.  In  both,  the 
figures  of  the  worshipping  saints  are  almost  life- 
size. 

Two  choice  works  by  Giorgione  are  here. 

"  The  treatment  of  genre  subjects  combined  with  rich 
and  poetical  landscape  may  be  said  to  have  originated 
with  Giorgione.  Of  this  class  are  the  Chaldean  Sages, 
'called  the  Three  Philosophers  (Geometricians  from  the 
East}  said  to  have  been  finished  by  Sebastian  del  Piombo ; 
and  the  so-called  Family  of  Giorgione — an  almost  nude 
woman,  probably  a  gipsy,  seated  with  a  child  in  her  lap, 
and  a  standing  warrior  gazing  upon  her,  a  storm  break- 
ing over  the  landscape, — a  picture  of  idyllic  beauty.  The 
charm  of  these  two  pictures  can  not  be  described.  It  is 
as  if  Giovanni  Bellini  were  here  seen  with  every  delicious 
quality  full  grown." — (A.  H.  L.) 

"  It  (Geometricians')  is  characterized  by  plump  form, 
soft  blending,  pure  drawing,  and  sure  impast  in  flesh 
bathed  in  vapour  and  made  transparent  by  delicate  glazes. 
We  must  admire  the  spirited  and  easy  reproduction  of 
instant  motion,  the  lightness  of  touch,  and  the  subtle  feel- 
ing for  colour." — (C.  and  C.) 

Luca     Giordano's    Fall   of   the    Angels    is    a 

dramatic  composition. 

"  His  works  are  of  such  varying  merit  that  the  Italians 
say  he  used  sometimes  a  golden,  sometimes  a  silver,  and 


VIENNA  319 

sometimes  a  leaden  pencil — the  last  unfortunately  most 
frequently.  This  picture,  however,  is  one  of  the  few  that 
may  be  assigned  to  his  golden  brush;  the  composition 
shows  a  powerful  imagination,  and  the  attitudes  are  very 
effective." — (W.) 

Agostino  Carracci's  St.  Francis  is 

"  an  admirable  example  of  this  rare  master,  who  sur- 
passes the  other  Carracci  in  purity  of  drawing  and  taste. 
The  composition  is  well  considered,  the  drapery  carefully 
executed,  and  the  colouring  unusually  clear  and  harmo- 
nious."—  (W.) 

The  Pieta,  by  Andrea  del  Sarto,  shows  the 
Dead  Christ  mourned  by  the  Virgin  and  two 
angels. 

"  It  is  a  hasty  work,  and  the  crayon  shows  through  the 
paint  in  several  places;  but  the  style  has  so  much  nobility, 
the  expression  so  much  charm,  the  colour  so  much  bril- 
liance and  transparence,  and  the  general  effect  so  much 
grandeur  that  this  picture  would  hold  an  honourable  place 
among  his  masterpieces." — (L.  V.) 

Mantegna's  St.  Sebastian  is  small  in  size,  but 
great  in  style  and  perfect  in  execution. 

"  We  recognize  in  the  arrangement  of  this  little  pic- 
ture, and  particularly  in  the  landscape  background,  the 
master  who  studied,  with  the  same  care,  Antiquity  in  its 
smallest  fragments,  and  Nature  to  its  most  minute  de- 
tails."—(L.  V.) 

The  most  admired  pictures  here  of  Veronese  are 
the  Virgin  in  Glory  between  St.  Catherine  and 
St.  Barbara  and  Christ  Healing  the  Sick 
Woman,  in  figurines,  but  fine,  luminous  and 
charming.  Curtius  also  belongs  to  the  first  rank 
of  this  artist's  work. 

The  Madonna  with  St.  Catherine  and  St. 
Barbara  is  a  remarkable  work. 

"  Seldom  do  we  find  in  this  master  such  well-ordered 


composition,  and  such  fine  feeling  in  the  heads  (espe- 
cially the  nuns)  coupled  with  his  own  peculiar  cool  and 
silvery  harmony." — (W.) 

Veronese's  Christ  and  the  Woman  of  Sa- 
maria is  opulent  both  in  form  and  colour.  The 
experienced  widow  is  a  young  and  lovely  Venetian 
blonde,  richly  attired.  The  figures  are  set  in  a  vast 
landscape.  The  student  will  like  to  compare  this 
treatment  of  the  subject  with  others  in  the  same 
gallery.  Lorenzo  Lippi's  Samaritan  is  attended 
by  a  child  who  nestles  against  her  with  a  kind  of 
frightened  timidity.  In  Biliverti's  picture,  there 
is  also  a  little  boy  in  the  shadow  behind  the  well. 
The  woman,  seen  in  profile,  has  a  bearing  full  of 
elegance,  and  an  attentive  and  passionate  face.  In 
Annibal  Carracci's  picture  Christ  is  seated,  with 
outstretched  finger.  The  woman,  of  noble  and 
beautiful  countenance,  slightly  bends  her  head  and 
listens  with  profound  attention. 

Of  Fra  Bartolommeo, 

"  few  pictures  give  a  finer  idea  than  the  Presentation 
in  the  Temple,  with  the  figure  of  Simeon  standing  with 
unparalleled  dignity.  The  picture  has  been  deprived  of 
its  harmonious  colouring  by  over-cleaning." — (A.  H.  L.) 

"  There  are  few  subjects  due  to  Fra  Bartolommeo  in 
which  there  is  a  softer  gravity  or  more  melancholy 
beauty." — (C.  and  C.) 

Several  great  works  display  the  style  of  Titian 
at  various  periods  of  his  long  career. 

The  Virgin  of  the  Cherries  shows  us  the  type 
of  the  youthful  Madonna  gradually  departing 
under  Titian's  brush  from  its  early  relationship 
with  the  favourite  types  of  Bellini,  Giorgione  and 
Palma. 

"  The  young  mother  turns  in  ecstasy  towards  her  Child, 


•1 


3 


O 


VIENNA  321 

who  is  offering  her  the  fruit,  with  a  lively  and  tender 
movement,  a  supple  arid  noble  action.  It  is  a  beautiful  ges- 
ture which  the  painter  has  long  sought  and  will  fre- 
quently reproduce.  The  face  is  longer,  the  expression 
more  decided,  the  flesh  tints  clearer,  the  carriage  prouder; 
we  feel  that  the  artist's  ideal  is  becoming  higher,  purer 
and  nobler  in  proportion  as  his  growing  ability  enables 
him  to  transfigure  his  models  with  less  effort.  The  exe- 
cution is  inexpressibly  harmonious,  in  a  delicate  and  sweet 
scale,  with  accents  of  morning  freshness,  notably  in  the 
body  of  the  bambino,  modelled,  like  a  rose-leaf,  with  in- 
comparable lightness. — (G.  L.) 

The  Virgin  of  the  Parapet,  also  called  the 
Bohemian  Virgin,  belongs  to  the  end  of  Titian's 
first  period. 

"  It  is  a  sort  of  coming  into  possession  of  nature :  the 
plenitude  of  the  reliefs  and  the  vigour  of  the  tones  re- 
mind us  of  Giorgione;  but  its  more  perfect  beauty,  its 
more  exquisite  choice  and  its  more  tender  emotion  an- 
nounce a  face  that  is  more  restrained  and  directed  by  a 
superior  art." — (M.  H.) 

The  Allegory  of  Avalos  may  rank  among 
Titian's  masterpieces;  it  is  a  prodigy  of  colour. 

The  Ecce  Homo  shows  Christ  introduced  at  the 
top  of  a  flight  of  steps  by  a  corpulent  Pilate  (a 
portrait  of  Aretino)  to  a  tumultuous  and  fanatical 
rabble  below  clamouring  for  His  crucifixion. 

"  The  work  is  brilliant,  pompous,  though  somewhat 
heavy  in  certain  parts,  where  we  recognize  the  aid/  of 
pupils.  It  is  rather  cold,  but  it  also  contains  exquisite 
traits  of  naivete.  It  blazes  the  way  for  Veronese  and 
Rubens."— (M.  H.) 

The  Danae  is  one  of  several.  Here  Cupid  is 
supplanted  by  an  old  hag  catching  the  gold  coins 
in  her  apron.  The  forms  are  less  delicate,  but 
the  colour  more  ardent  than  the  Naples  variant; 


322    THE    IMPERIAL   PICTURE   GALLERY 

besides  being  inferior  in  sentiment  and  caressing 
tenderness. 

There  is  a  fine  repetition  of  the  Diana  and 
Actaeon  here,  painted  about  1558. 

"  Since  the  glorious  times  of  the  Bacchanales,  at  Fer- 
rara,  Titian  had  not  treated  mythological  and  plastic 
subjects  of  this  importance.  The  care  he  took  in  the 
work  is  shown  in  the  fine  equilibrium  of  the  composition, 
the  variety  and  grace  of  the  attitudes,  the  justness  and 
strength  of  the  modelling,  and  the  vigour  and  harmony 
of  The  colourings. ( — G.  L.) 

The  Portrait  of  Strada  is  a  firm,  brilliant  and 
bold  painting  in  which  there  is  no  sign  of  the 
eighty  years  of  the  master's  age  at  the  time. 

The  natural  pendant  of  Charles  V.,  at  Munich, 
is  his  prisoner,  the  Elector  of  Saxony,  that  hangs 
here.  The  big  man  is  seated,  bareheaded,  in  an 
arm-chair.  He  holds  a  black  cap  in  his  hand. 
His  fat  rubicund  face  shows  the  scar  of  the 
wound  he  received  at  Muhlberg. 

"  Titian  has  well  expressed  his  apoplectic  character  with 
a  strong  heat  that  his  ordinary  painter,  Cranach,  never 
knew.  The  superiority  of  Italian  art  at  this  period  shines 
still  more  in  the  impression  of  nobility,  and  the  breadth 
of  the  rendering  of  this  physiognomy  that  is  so  energetic 
and  interesting  in  spite  of  the  thickness  of  its  forms." — 
(G.  Laf.) 

C.  Allori  (Bronzino)  has  a  fine  duplicate  of  his 
Judith  in  the  Pitti. 

Correggio's  Ganymede,  representing  the  youth 
being  carried  to  Olympus  by  the  eagle,  was  once 
considered  to  be  by  Parmigiano.  Beneath  is  a 
bird's-eye  view  of  a  beautiful  landscape.  In  gen- 
eral treatment  it  resembles  the  picture  of  lo, 
also  in  this  gallery.  Both  paintings  have  greatly 
suffered. 

"  It  is  impossible  to  carry  the  representation  of  sensu- 


VIENNA  323 

ous  joy  and  beauty  in  art  further  than  Correggio  has 
done  in  this  painting.  lo,  perfectly  nude  and  almost 
turning  her  back  on  the  spectator,  is  sitting  on  a  little 
hill  with  her  body  slightly  thrown  back.  She  seems  act- 
ually to  shine  forth  out  of  the  misty  clouds  that  surround 
her  and  throw  a  haze  over  the  landscape.  The  head  of 
Jupiter,  whose  lips  are  raised  to  meet  hers,  is  scarcely 
recognizable  in  the  enveloping  cloud.  Her  lovely  face, 
turned  bashfully  aside,  is  charming  in  its  expression  of 
sweetest  sensibility,  and  the  golden  hair  and  delicately 
coloured  cheeks  are  exquisitely  beautiful.  The  light  and 
tender  glimmer  of  the  chiaroscuro  play  brilliantly  on  the 
beautiful  form  and  more  effective  than  the  expression 
even  is  the  light  on  the  figures  in  which  the  warm  tones 
of  the  flesh  look  almost  spiritualised  in  contrast  with  the 
surrounding  darkness  enveloping  the  figure  of  the  god 
in  its  shadow." — (J.  M.) 

Of  the  Umbrian  School  here,  Perugino  holds 
first  place  with  his  two  Madonnas. 

"  One,  accompanied  by  two  female  saints,  is  beautiful, 
gracious  and  holy  at  the  same  time,  and  exquisite  in 
colour.  The  Virgin  in  Glory  between  St.  Peter  and  St. 
Paul,  St.  Jerome  and  St.  John  the  Baptist,  dated  1493,  is 
one  of  the  largest  and  best  of  what  we  may  call  his  capi- 
tal works.  But  it  has  been  cleaned  and  retouched  beyond 
all  measure." — (L.  V.) 

St.  Margaret,  trampling  the  Dragon  under  foot, 
formerly  attributed  to  Raphael,  is  one  of  Giulio 
Romano's  finest  productions. 

A  Repose  in  Egypt,  given  to  the  School  of  Ra- 
phael, and  sometimes  to  Raphael  himself,  is  prob- 
ably the  work  of  Giulio  Romano  and  Penni  in  col- 
laboration. The  kneeling  Virgin  holds  the  Child 
in  her  arms;  the  little  St.  John  is  also  kneeling 
and  offering  fruit.  Joseph  holds  the  ass,  and  is 
lifting  St.  John  to  his  feet.  The  picture  is  freely 
and  boldly  painted.  The  Infant  is  extremely  beau- 
tiful, as  is  also  the  head  of  the  Baptist. 


324    THE    IMPERIAL   PICTURE   GALLERY 

Bassano's  Good  Samaritan  is  a  fine  composition 
of  original  conception,  in  which  he  has  not  hesi- 
tated to  depart  from  Holy  Writ  by  accompanying 
the  Samaritan  with  a  servant.  The  solicitude  of 
the  merciful  traveller  is  well  expressed,  as  is  also 
the  exhaustion  of  the  victim  of  the  highwaymen ; 
and  the  painter  has  grouped  his  figures  in  a  land- 
scape painted  with  much  vigour  and  charm.  This 
picture  should  be  compared  with  an  Early  Flemish 
work  of  the  same  subject  by  Herri  de  Bles. 

In  the  Triumph  of  Venus  on  the  Sea,  by  Al- 
bani,  the  goddess  seated  in  a  chariot  drawn  by  sea- 
horses is  riding  over  the  waves  with  Cupid  near 
her  and  other  Loves  variously  grouped.  One  holds 
a  scarf  that  floats  in  the  breeze  and  another  rides 
a  dolphin.  Nymphs  and  other  attendants  hold  out 
their  arms  to  Venus. 

There  are  magnificent  portraits  by  Italian  mas- 
ters, the  most  celebrated  of  which  are  by  Correg- 
gio,  Parmegianino,  P.  Bordone,  Palma  Vecchio, 
Sebastian  Bombelli,  and  Tintoret.  The  latter 
has  two  Doges,  of  which  Niccolo  de  Ponte  is  the 
finer  work. 

"  The  grandeur  of  conception,  the  tone  of  the  carna- 
tions, and  the  broad  handling  combine  to  make  this  a 
historical  work.  The  great  colourist  is  seen  at  his  best 
in  the  depth  and  harmony  of  tone  of  the  cap,  chair,  and 
curtain."— (W.) 

"  Palma  Vecchio  is  seen  in  undisputed  originality  in 
several  female  portraits,  which,  though  greatly  rubbed  and 
injured,  bear  the  stamp  of  beauty  and  amplitude  which  is 
his  peculiar  type.  A  Lucretia  is  a  commanding  figure  of 
fine  expression." — (A.  H.  L.) 

Lorenzo  Lotto's  Portrait  of  a  Young  Man,  in 
Venetian  costume,  exemplifies  the  artist's  remark- 


VIENNA  325 

able  refinement  and  rare  power  of  seizing  character 
and  expression. 

Of  Moro's  two  splendid  portraits,  Margaret 
of  Parma  and  Cardinal  de  Granvelle,  the  first, 
"  although  a  masterpiece  of  expression,  is  eclipsed  in 
technical  skill  by  that  of  the  Cardinal,  the  colour  of  which 
is  extraordinarily  fresh  and  beautiful.  The  bust  of  the 
young  man  whose  forehead  is  marked  by  a  scar  is  con- 
ceived in  a  very  noble  sentiment ;  the  likeness  of  a  young 
woman  who  wears  a  black  costume  has  a  striking  sim- 
plicity and  truth."— (B.  P.) 

Viardot  regards  St.  Justina  by  Moretto  as  one 
of  the  gems  of  the  gallery,  and  attributes  it  to 
Pordenone. 

"  The  highest  type  of  Moretto's  charm  of  dignity  of 
figure  and  richness  of  colour  is  seen  in  the  picture  repre- 
senting a  Brescian  nobleman  kneeling  before  St.  Justina, 
who  is  standing  with  the  Unicorn,  the  emblem  of  chastity, 
by  her  side — a  very  noble  work." — (A.  H.  L.) 

Velasquez  has  two  splendid  portraits  of  children, 
— Don  Balthaser  and  the  Infanta  Maria  Theresa. 
There  is  also  one  of  the  court  fools  that  his 
brush  so  vividly  represented.  The  most  famous 
picture,  however,  is  that  of  his  own  Family. 
It  is  of  capital  importance  in  his  work.  In  the 
foreground,  his  wife,  Juana  Pacheco,  is  sitting, 
trying  to  console  a  tiny  child  who  is  crying.  Four 
boys,  varying  in  size  and  age,  stand  about  their 
grandmother.  Behind  the  second  eldest,  with  her 
hand  laid  on  his  head,  stands  Dona  Francesca, 
the  daughter  of  Velasquez  and  wife  of  Mazo. 
Behind  her  and  to  the  left,  we  see  Mazo  himself 
bending  slightly  towards  his  eldest  son,  a  youth 
already  serious  and  grave.  Beside  him  stands 
Pareja,  that  faithful  slave  who  accompanied 
Velasquez  everywhere,  and  one  fine  day  sud- 


326    THE    IMPERIAL   PICTURE    GALLERY 

denly  revealed  himself  as  an  able  painter.  At 
the  end  of  a  rather  long  gallery  lighted  by  a 
large  window,  we  see  Velasquez  busy  on  a  por- 
trait of  Queen  Marianne  of  Austria.  A  nurse, 
holding  an  infant  in  leading  strings,  is  approach- 
ing him.  On  the  back  wall  on  the  left  is  a  por- 
trait of  Philip  IV.  in  an  ebony  frame;  and  in 
front  of  it  on  a  table  draped  with  velvet  are 
some  books,  a  vase  of  flowers,  and  a  white  mar- 
ble bust  of  Elisabeth  of  Bourbon,  the  first  wife 
of  Philip  IV.,  whose  memory  had  remained  the 
object  of  veritable  adoration  to  Velasquez. 

"  On  this  canvas,  of  very  high  value  as  to  its  colour 
and  execution,  and  so  interesting  in  so  many  other  re- 
spects, the  artist  has  therefore  grouped  all  that,  near  or 
far,  was  most  dear  to  him.  It  is  wonderful  to  see  what 
variety,  what  intensity  of  life,  and  what  grace  at  once 
tender  and  spiritual  he  has  put  into  the  painting  of  all 
these  simple  characteristics  of  children,  and  how  he  has 
succeeded  in  imprinting  on  the  features  of  the  mother 
and  grandmother  an  expression  of  the  most  exquisite 
tenderness." — (P.  L.) 

The  most  important  work  of  Rubens  here  is 
the  celebrated  St.  Ildefonso  altar-piece. 

The  Virgin  is  seated  in  the  pulpit  from  which  St. 
Ildefonso  was  accustomed  to  preach,  dressed  in 
her  conventional  robe  of  red  and  her  blue  man- 
tle. The  saint  kneels  before  her  receiving  from 
her  hands  the  beautifully  embroidered  chasuble. 
St.  Barbara,  St.  Catherine,  St.  Rosalie  and  St. 
Agnes  are  grouped  around  the  Virgin  dressed  in 
richest  robes.  Three  cherubs,  holding  hands, 
hover  above,  one  with  a  wreath  of  roses.  What 
Rubens  particularly  sought  for  in  this  picture 
was  the  effect  of  light :  the  whole  scene  is  flooded 
with  celestial  brightness. 


VIENNA  327 

"  Everything  is  calculated  to  produce  the  impression  of 
opulence :  the  golden  throne,  the  rich  draperies  of 
red  and  blue,  the  white  satin,  the  robes  of  gold  and 
ermine,  the  gauze  veil,  and,  particularly,  the  soft,  fresh  flesh 
tints  of  the  Virgin,  the  saints  and  angels.  It  is  a  super- 
natural vision.  The  dramatic  force  and  strong  emotions 
that  Rubens  loves  are  banished  from  this  picture,  terres- 
trial passions  have  lost  their  sway  and  have  given  place 
to  the  emotions,  felicity  and  beauty  of  heaven." — (M.  R.) 

On  the  left  wing  kneels  the  Archduke  Albert  in 
rich  mantle  lined  with  ermine  and  the  Order  of 
the  Golden  Fleece  around  his  neck.  Behind  him 
stands  St.  Albert  of  Liege  in  the  violet  robes  of  a 
cardinal.  Both  are  looking  towards  the  Virgin. 
On  the  opposite  wing  and  kneeling  likewise  before 
a  prie-Dieu  is  the  Archduchess  Isabella  Clara 
Eugenia,  sumptuously  dressed  and  accompanied 
by  her  patron  saint,  Elizabeth  of  Hungary. 

"  The  shimmering  draperies,  the  golden  brocades,  the 
silken  stuffs  and  the  warm  carnations  are  inundated  with 
the  same  light  that  floods  the  scene  of  the  miracle  and 
brings  these  two  wings  entirely  in  harmony  with  the  cen- 
tral panel.  On  account  of  their  majesty,  and  the  nobility 
of  their  features  as  well  as  their  brilliancy  of  colour,  these 
portraits  are  among  the  most  beautiful  that  Rubens  ever 
painted."— (M.  R.) 

In  St.  Ambrose  and  the  Emperor  Theodosius 
the  Bishop  of  Milan  is  refusing  the  Emperor  ad- 
mission to  the  church  on  account  of  the  massacre 
of  Thessalonica.  He  stands  in  front  of  the  door 
in  his  magnificent  robes  and  with  a  firm  gesture 
repulses  the  Roman  Emperor,  who  wears  his 
purple  mantle  over  his  warrior's  costume.  Three 
warriors  stand  behind  him  astonished  at  the  re- 
fusal. 

"  The  composition   is   simple   and   eloquent :  the  bishop 


328    THE   IMPERIAL   PICTURE   GALLERY 

and  emperor  are  strong,  noble  figures ;  and  the  contrast 
between  the  group  of  robust  warriors  behind  Theodosius 
and  the  placid  followers  of  St.  Ambrose  is  very  striking." 

Two  great  works  depict  the  miraculous  powers 
of  St.  Ignatius  Loyola  and  St.  Francis  Xavier. 

"The  boldness  of  the  whole  composition,  the  striking 
manner  in  which  the  action  is  represented,  the  admirable 
keeping  in  the  masses,  the  vigour  of  the  colouring,  and 
the  ease  and  freedom  of  the  execution,  render  this  a  most 
effective  picture  and  one  of  the  most  favourable  specimens 
of  the  peculiar  style  of  Rubens.  A  pendant  to  this,  the 
St.  Francis  Xavier  raising  the  dead  and  healing  the  sick, 
must  be  mentioned  on  account  of  the  same  perfections." 
-(W.) 

Meleager  and  Atalanta  Slaying  the  Caly- 
donian  Boar  is  a  fine  work  of  collaboration — 
Rubens  being  responsible  for  the  figures,  Snyders 
the  animals,  and  Wildens  the  landscape.  It  is 
painted  in  soft  tones  and  with  great  freedom.  The 
outlines  are  clean  in  drawing,  the  colour  full,  and 
the  shadows  strong. 

Among  Van  Dyck's  works  two 

"  The  Mystic  Marriage  of  St.  Rosalie  with  the  Infant 
Jesus,  who  holds  out  a  crown  of  roses  to  her,  and  the 
Blessed  Herman  Joseph  with  the  Virgin  are  subjects  in- 
spired by  the  mysticism  in  honour  at  that  period.  Smith 
does  not  say  too  much  when  he  praises  the  beauty  of  the 
St.  Rosalie;  he  might  have  added  that  the  other  canvas 
may  be  classed  among  the  best  by  this  master.  It  is 
worthy  of  remark  that  this  order  of  subjects,  for  which 
the  calm  and  gentle  expression  of  tender  sentiment  suf- 
fices, is  marvellously  well  suited  to  the  distinguished  tal- 
ent, but  one  little  suited  for  tragic  scenes,  of  Van  Dyck. 
The  two  pictures  are  distinguished  by  a  skill  of  compo- 
sition not  common  in  Van  Dyck.  But  the  subject  of  the 
second  renders  it  particularly  delightful.  The  body  of 
the  Divine  Child  is  exquisitely  graceful;  the  saint's  robe, 


VIENNA  329 

made  of  a  splendid  material  of  gold  ground,  illumines  the 
whole  canvas.  St.  Paul  stands  beside  the  Virgin  in  an 
attitude  full  of  nobility  and  grandeur." — (T.  G.) 

Le  Roi  Boit  is  the  most  animated  variant  of 
this  favourite  subject  of  the  brush  of  Jordaens — 
the  jollification  of  Twelfth  Night.  It  is  full  of 
verve  and  character. 

In  the  opinion  of  many  critics  a  landscape  by 
Ruysdael  ranges  with  Diirer's  Trinity  and  Ru- 
bens's  St.  Ildefonso  as  one  of  the  three  greatest 
works  in  the  gallery. 

"  The  landscapes  are  numerous.  Ruysdael  has  the 
largest,  most  important  and  perfect  work  of  his  brush, — 
the  one  we  may  unhesitatingly  call  the  chief  of  his  master- 
pieces. It  is  six  feet  wide  and  five  feet  high ;  and  the 
unusual  size  of  this  canvas  shows  that  Ruysdael  wanted  to 
make  it  an  extraordinary  work.  Nothing  could  be  simpler 
than  the  subject ;  under  a  calm  sky  traversed  by  floccu- 
lent  clouds,  is  a  clump  of  tall  trees  on  a  flat  and  bare 
plain  through  which  winds  a  path,  which  is  cut  by  a 
stream  in  the  foreground  and  loses  itself  on  the  horizon ; 
that  is  all.  And  yet  it  is  the  most  beautiful  real  land- 
scape, the  most  excellent  portrait  of  nature  that  could  be 
seen  or  imagined.  The  two  other  works  by  Ruysdael,  of 
ordinary  dimensions  are  a  Forest  and  a  Cascade  falling 
over  rocks." — (L.  V.) 

The  most  important  Marine  in  the  gallery  is 
by  Vlieger. 

There  are  several  very  varied  pictures  by 
Gerard  Zeghers. 

"  A  Holy  Virgin  bearing  on  her  knees  the  sleeping 
Christ;  Hagar  and  Ishmael  in  a  forest  is  a  superior  work 
in  every  respect ;  Mary  with  her  Son  and  little  St.  John 
in  the  middle  of  a  landscape;  another  Holy  Family  in  a 
landscape;  St.  Stanislas  nourished  by  angels;  and  a  Tri- 
umph of  Silenus.  The  backgrounds  were  executed  by 
Jacques  d'Arthois,  who  often  framed  the  pictures  of  Zeg- 


330    THE   IMPERIAL   PICTURE   GALLERY 

hers,  but  rarely  signed  with  him.  There  is  one  excep- 
tion, however,  in  the  Belvedere,  St.  Francis  Borgia,  and 
his  companions,  kneeling  in  a  great  forest  before  a  lumi- 
nous monstrance  which  lights  a  chapel." — (A.  M.) 

The  visitor  to  this  gallery  would  never  imagine 
that  David  Teniers  the  Elder  owed  his  great  rep- 
utation to  his  pictures  of  sorcerers,  bohemians 
and  scenes  of  peasant  life.  Here  we  have  only 
Biblical  and  Mythological  subjects: — Tobias  and 
the  Angels,  Juno  Demanding  the  Metamorpho- 
sis of  lo,  Mercury  Putting  Argus  to  Sleep, 
Vertumnus  and  Pomona  and  Pan  and  a  Nymph. 
In  his  religious  pictures  he  reminds  us  of  Elzheimer 
and  F.  Pourbus:  in  his  Gods  and  Goddesses,  he  is 
rather  heavy. 

David  Teniers  the  Younger  has  about  twenty 
works  here.  The  Archery  Festival  which  was 
held  annually  at  Brussels  is  one  of  the  most  cele- 
brated. Among  the  people  who  throng  the  Place 
des  Sablons,  the  portraits  of  the  painter  and  his 
family  may  be  recognised. 

"  Leopold  stands  under  a  canopy  that  overhangs  his 
arm-chair,  which  is  therefore  a  kind  of  throne,  holding 
his  cross-bow  in  his  hand  and  surrounded  by  his  cour- 
tiers and  the  Swiss  guard.  All  the  personages  are  por- 
traits. An  immense  crowd  swarms  around  them  and 
among  them  the  painter  has  represented  himself  and  his 
family.  As  each  individual  is  so  carefully  represented  this 
vast  composition  must  have  exacted  a  long  work.  The 
figures  in  the  foreground  are  little  over  a  foot  high.  This 
is  the  most  important  and  brilliant  work  by  Teniers  in 
the  Belvedere.  The  Prince  has  a  calm  dignity  and  ele- 
gance of  bearing  that  form  a  contrast  with  the  common 
expressions  and  heavy  attitudes  of  the  bourgeois  and 
peasants.  The  skilfulness  of  the  composition,  the  har- 
mony and  picturesque  effect  of  the  whole,  the  ingenious 
distribution  of  light  and  the  delicacy  of  the  colours  give 
to  this  complicated  work  the  aspect  of  life." — (A.  M.) 


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GIRL   WITH  CANDLE— Schulcken 

VIENNA 


VIENNA  331 

The  Picture  Gallery,  by  Teniers  the  Younger, 
usually  attracts  curious  attention.  It  represents 
part  of  the  gallery  of  Leopold  William,  Archduke 
of  Austria.  In  it  we  see  fifty  pictures  by  Italian 
masters,  copied  exactly  in  miniature.  Many  of  the 
originals  hang  in  the  vicinity  of  the  work.  (See 
page  310.) 

"  The  Archduke  is  examining  a  picture  placed  on  an 
easel  and  is  pointing  with  his  cane  to  David  Teniers  him- 
self to  ask  the  name  of  the  painter.  Here  all  the  per- 
sonages are  portraits.  The  collection  of  the  Archduke 
having  passed  to  Vienna  at  the  same  time  as  this  picture, 
critics  and  amateurs  took  pleasure  in  comparing  with  the 
originals  these  reduced  but  faithful  copies.  We  admire 
the  suppleness  which  allowed  him  to  reproduce  so  well 
in  little  the  large  pictures  where  are  found  exactly  the 
style  of  each  master.  The  entire  world  praises  the  ar- 
rangement and  the  delicate  touch  of  this  beautiful  work, 
the  colour  of  which,  though  somewhat  cold,  has  a  lumi- 
nous transparency." — (A.  M.) 

Brueghel  (Peasant)  has  eleven  pictures  that  dis- 
play the  various  phases  of  his  genius.  The  Com- 
bat between  the  Carnival  and  the  Careme  is 
one  of  his  masterpieces.  It  might  be  called  the 
Combat  between  Epicurianism  and  Asceticism. 
It  takes  place  in  the  great  square  of  the  city. 
On  the  right  are  the  corpulent  followers  of  Epi- 
curus with  full  and  rubicund  faces;  on  the  right 
are  the  partisans  of  abstinence  with  hard  biscuits 
figured  on  their  shields.  Both  forms  and  incidents 
are  comic  in  the  highest  degree. 

The  Massacre  of  the  Innocents,  having  hap- 
pened at  Christmas,  is  a  snow-scene.  All  are 
in  Sixteenth-Century  costumes.  The  March  to 
Calvary  is  also  a  contemporary  scene.  Each 
thief  is  accompanied  by  a  priest  with  a  crucifix, 


332    THE    IMPERIAL   PICTURE    GALLERY 

exhorting  him  to  repent!  In  the  Combat  be- 
tween the  Hebrews  and  Philistines,  the 
former  are  armed  like  Mediaeval  Knights,  and  the 
latter  like  Moslems.  Marvellous  is  the  care  be- 
stowed on  the  swarm  of  minute  figures.  Spring 
shows  children  playing  all  sorts  of  games  in  a 
public  square.  Kermesses  and  a  Wedding  are 
also  full  of  humour.  Nowhere  else  can  this  artist 
be  studied  to  better  advantage. 

The  Building  of  the  Tower  of  Babel  is  one 
of  his  most  celebrated  pictures ;  it  is  signed  and 
dated  1563.  Van  Mander  and  Baldinucci  speak 
of  this  as  an  exceptional  work. 

Valkenburg  appears  under  several  aspects,  as  a 
painter  of  rustic  scenes  imitating  Brueghel  the 
Elder,  as  a  landscape  and  portrait  painter. 

"  When  he  paints  the  country,  he  distinguishes  himself 
above  his  forerunners  by  his  choice  of  original  motives. 
One  landscape  in  which  a  chase  animates  the  background 
and  where  the  Archduke  Mathias  is  seen  fishing  in  the 
foreground  is  particularly  successful.  In  the  Portrait  of 
the  Margrave  de  Burgau,  in  Roman  costume,  the  painter 
has  followed  the  archaeological  style  of  his  time.  The 
execution  is  minute ;  but  the  tone  is  cold,  the  shading  in- 
different and  the  flesh  not  very  true  to  life." — (B.  P.) 

Schalcken's  Girl  with  a  Candle  is  a  remark- 
able tour  de  force  as  a  study  of  direct,  transfused 
and  reflected  light. 

Balthazar  Denner's  portraits  of  an  Old  Man 
and  an  Old  Woman  are  remarkable  for  their 
minuteness  of  detail. 

Balthazar   Denner's   ideal 

"  was  the  representation  of  old  age,  not  that  heroic  old 
age  that  is  saluted  by  the  poet  as  the  evening  of  a  fine 
day,  but  that  vulgar  falling  away  which  is  called  decrepi- 
tude, and  which  accumulates  on  a  withered  mask  the 


VIENNA  333 

seams,  blotches  and  scars  of  the  combat.  Denner's  con- 
temporaries did  not  agree  with  the  modern  critic,  for  the 
Emperor  Charles  VI.  paid  5,875  florins  for  the  Head  of  an 
Old  Woman,  and  kept  it  under  lock  and  key,  showing  it 
only  to  the  privileged.  The  Old  Man  with  Long  Hair  is 
a  companion  picture  of  equal  celebrity.  Mariette  says 
that  '  Denner  does  not  know  how  to  put  a  figure  to- 
gether, and  his  brushwork  is  so  fine  that  it  escapes  the 
most  piercing  eyes.  He  expresses  the  tiniest  wrinkle  of 
the  flesh ;  the  smallest  hair  and  the  most  imperceptible 
pore  of  the  skin  are  rendered  in  such  detail  that  we  are 
sure  that  not  one  has  been  omitted." — (P.  M.) 

An  unusal  class  of  subjects  for  Snyders  is  the 
Biblical.  His  Terrestrial  Paradise,  however,  is 
only  an  excuse  for  the  treatment  of  all  kinds  of 
wild  and  tame  animals.  The  creation  of  Eve  is 
relegated  to  the  rear. 

Martin  Van  Heemskerk's  pictures  are  scarce. 
He  has  three  here. 

"  He  turned  to  the  contemporary  Italian  masters  and 
surpassed  them  in  labour  and  affectation.  St.  John  in  the 
Desert  has  nothing  attractive  in  it.  A  mythological  pic- 
ture, a  Bacchanalc  in  which  we  should  expect  to  find  a 
little  spirit,  is  repulsingly  vulgar;  the  Triumph  of  Silenus 
is  more  convincing  because  it  is  inspired  by  a  composition 
by  Guilio  Romano." — (B.  P.) 

The  Treasure  Seeker  gives  us  a  very  high 
opinion  of  David  Ryckaert's  powers  as  a  fantastic 
painter.  An  old  woman,  a  kind  of  sorceress,  is 
grubbing  among  ruins  by  the  light  of  a  torch.  It 
is  very  finely  composed  and  produces  the  strong- 
est effect.  The  painter  was  fond  of  artificial  light 
effects.  The  Old  Man  Reading  is  a  splendid 
work  in  which  the  light  concentrated  in  a  small 
space  produces  a  dazzling  effect.  The  volume  on 
the  desk  seems  to  glitter.  Rembrandt  himself  has 
never  done  better  with  chiaroscuro. 


334    THE   IMPERIAL   PICTURE   GALLERY 

The  Town  Market  is  true  to  nature,  has  great 
vivacity  of  expression,  and  is  clear  in  colour. 
It  is  a  charming  picture. 

Among  several  fine  examples  of  German  mas- 
ters conspicuous  is  the  portrait  by  Burgkmaier 
of  Himself  and  his  Wife. 

"  To  judge  the  quality  of  Burgkmaier  as  a  portrait 
painter,  nothing  could  serve  better  than  the  picture  in 
which  we  see  the  artist  and  his  wife,  who  holds  a  mirror, 
that,  instead  of  their  faces,  reflects  two  death's-heads — 
a  sinister  allegory  that  perfectly  represents  the  melancholy 
and  mystical  tendency  of  the  period,  and  recalls  analogous 
compositions  of  Diirer." — (A.  D.) 

The  Crowing  Cock  is  a  magnificent  example  of 
Hondecocter's  intimate  knowledge  and  sympa- 
thetic treatment  of  poultry. 

An  interesting  picture  painted  by  Jan  Fyt  and 
Thomas  Willeborts  in  collaboration  is  Diana's 
Repose. 

"The  ardent  huntress  is  resting  after  her  labours;  her 
nymphs  are  tending  the  hounds  and  placing  in  order  the 
pieces  of  game  which  they  have  brought  in  from  their 
courses  through  the  woods.  Needless  to  say,  in  the 
brotherly  competition  established  here  between  the  two 
masters,  victory  remains  with  Willeborts."— (P.  M.) 

The  Doctor  Feeling  the  Pulse  of  a  Young 
Patient  (dated  1656),  shows  that  Mieris  had  at- 
tained the  height  of  his  genius  at  the  age  of  twenty- 
one.  The  sentiment  of  the  heads,  the  distribution 
of  the  light,  the  harmonious  scale  of  colours  and 
the  finish  of  the  details  were  never  carried  farther 
by  this  painter. 

In  the  Silk  Mercer  we  feel  the  study  that  the 
young  master  has  given  to  Metsu ;  and  we  note  the 


VIENNA  335 

same  care  in  giving  to  a  simple  picture  of  an  in- 
terior the  interest  of  a  scene  of  Italian  comedy. 

Abraham  Van  Diepenbeck  has  an  allegorical 
representation  of  the  nothingness  of  human 
affairs. 

"  It  is  a  work  not  only  full  of  ideas,  but  of  very  happy 
execution.  In  the  principal  figure  there  is  something  of 
Faust's  despairing  scepticism.  On  a  scroll  in  the  clouds 
is  the  sentence:  ' Nosce  te  ipsum' " — (B.  P.) 

Jan  Van  Kessel  was  not  solely  a  skillful  flower 
painter.  One  of  his  contemporaries  enthusiasti- 
cally wrote: 

"  Animals  particularly,  animals  without  feathers,  or 
birds  little  and  big  that  move  among  the  clouds,  marine 
monsters  that  glide  in  the  waves,  footless  reptiles  that 
work  in  the  sand,  deformed  monsters  and  strange  crea- 
tures, Van  Kessel  has  painted  them  as  though  they  were 
alive,  and  his  ability  is  not  in  the  least  noticeable,  so  nat- 
ural do  they  look." 

Two  pictures  of  this  genre  are  here:  one 
shows  a  room  in  which  a  company  of  monkeys 
are  playing  cards  and  smoking ;  the  other,  a  bar- 
ber's shop  in  which  monkeys  are  combing  and 
shaving  cats. 

Pieter  Aertzen,  familiarly  called  "  Long 
Peter,"  has  a  characteristic  work  here.  It  rep- 
resents two  peasants,  a  man  and  a  woman,  who 
.  are  selling  butter  and  eggs  and  poultry  in  the 
foreground  of  a  market,  which  occupies  the  en- 
tire background. 

Joseph  Heins,  commonly  called  the  Swiss,  be- 
cause he  was  born  at  Basle,  and  noted  for  his  deli- 
cate style,  painted  historical,  sacred,  mythological 


336    THE    IMPERIAL   PICTURE    GALLERY 

and  allegorical  works.  As  the  productions  of  this 
artist  are  rare  it  is  well  to  note  that  this  gallery 
owns  seven  pictures  by  his  hand,  among  which 
the  best  are  Venus  and  Adonis,  Diana  and 
Actaeon,  Christ  on  the  Cross  and  more  partic- 
ularly the  Emperor  Rudolph,  painted  in  bust 
and  dressed  in  black. 

There  are  five  excellent  works  by  Frans  Pour- 
bus. 

"  Two  of  these  pictures — the  image  of  a  Knight  of 
Calatrava  and  that  of  a  charming  young  lady — are  spe- 
cially remarkable  for  the  dignity  of  their  bearing  and  the 
luminous  transparency  of  the  colour.  The  fondness  of 
this  painter  of  observing  nature  and  his  fidelity  in  repro- 
ducing it  became  habitual,  for  the  false  style  and  manner  of 
his  master,  Frans  Floris,  could  not  corrupt  him." — (B.  P.) 

Frans  Francken  the  Younger's  religious  pictures, 
Nicodemus  and  the  Son  of  Man  Talking  by 
the  Light  of  a  Lamp  and  Christ  on  the  Cross, 
are  not  of  great  moment,  though  their  technique 
is  good.  His  two  pictures  of  Witches  on  the 
other  hand,  show  a  rich  and  an  audacious 
imagination.  The  absence  of  all  comic  element 
proves  that  the  painter  really  believed  in  magic  and 
mysterious  alliances  of  certain  women  with 
demons ;  he  shows  down  to  the  smallest  details  the 
lugubrious  ritual  of  their  departure  for  their  Sab- 
bath; but  a  lively  feeling  for  the  beautiful  makes 
him  avoid  in  a  similar  subject  horrible  or  disgust- 
ing circumstances.  Among  these  wives  of  the 
kings  of  darkness  several  have  forms  young  and 
charming  enough  to  tempt  the  devil. 

Frans  Francken  the  Elder,  seems  to  have  liked 


VIENNA  337 

architectural  effects.  His  Cabinet  d'amateur  is 
filled  with  pictures,  statues  and  other  works  of  art. 
"  The  picture  called  Solon  at  the  Court  of  King  Croesus 
is  arranged  with  taste  and  treated  with  remarkable  ele- 
gance. The  Feast  takes  place  in  a  great  Renaissance  hall, 
of  magnificent  appearance  and  beautiful  effect.  More- 
over, all  the  guests  are  splendidly  represented,  the  ele- 
gance of  the  personages  corresponding  with  the  splendour 
of  the  place."— (B.  P.) 

Sebastian  Vranck  has  two  pictures  here.  One  is 
a  valuable  historical  document,  for  it  shows  the 
interior  of  the  Church  of  the  Jesuits  in  Antwerp 
with  all  the  pictures  by  Rubens  before  fire  de- 
stroyed it  in  1718.  On  the  high-altar  you  see  the 
Miracles  of  Saint  Ignatius  which  this  gallery 
owns.  (See  page  328.)  The  other  work  shows 
travellers  in  wagons,  assailed  by  Spanish  soldiers. 

Among  the  pictures  by  Snayers  twelve  are 
historical  works  depicting  the  most  memorable 
actions  of  the  Archduke  Leopold  William  and 
the  Field  Marshal  Octave  Piccolomini.  The  other 
four  works  are  also  battle  scenes,  one  of  which  is 
a  cavalry-charge  near  a  river  and  a  bridge.  The 
other  two  portray  respectively  a  troop  of  horse- 
men near  a  pond  and  a  band  of  travellers  riding 
through  a  verdurous  landscape. 

An  Adoration  of  the  Shepherds,  by  Van 
Oost  the  Elder,  is  a  superior  work.  The  Child 
Jesus  is  lying  before  his  mother  on  a  piece  of  white 
linen,  and  the  daughter  of  the  House  of  David 
gazes  at  the  entering  shepherds. 

"  She  charms  the  eyes  by  her  purity,  her  graceful  fea- 
tures and  her  elegant  proportions.  Behind  her  stands  St. 
Francis  of  Assisi,  whom  we  are  somewhat  astonished  to 
find  in  Bethlehem  so  soon  after  the  Birth  of  Christ.  A 


338    THE   IMPERIAL   PICTURE   GALLERY 

young  shepherd,  who  is  kneeling  before  the  cradle,  merits 
the  greatest  praise.  The  colours  have  a  charm  and  a  rare 
beauty  and  mingle  very  harmoniously." — (A.  M.) 

The  works  of  A.  C.  Lens  are  very  scarce  in  pub- 
lic galleries.  His  style  and  colour  may  be  studied 
here  in  Jupiter  and  Juno  Asleep  on  Mount  Ida. 


THE   VENICE    ACADEMY 

VENICE 
THE  Accaderaia  di  Belle  Arti  is  situated  in  the 

XgHfl""S*(''"~"?^^^™^^^^^^^^"^ 

old  Scuola  di  Santa  Maria  della  Carita  (the 
oldest  brotherhood  in  Venice,  founded  in  1260), 
on  the  Grand  Canal.  The  picture  gallery  dates 
from  1798,  and  consists  almost  exclusively  of 
Venetian  painting's.  The  greatest  treasure  is 
Titian's  Assumption.  Of  special  interest  are  the 
pictures  of  old  Venice  by  Gentile  Bellini  and  Car- 
rjaccio. 

The  Academy  is  rich  with  the  priceless  work  of 
the  founder  of  the  Venetian  School,  Giovanni 
Bellini.  The  Virgin  and  Six  Saints,  also  known 
as  the  San  Giobbe  altar-piece,  is  a  beautiful 
picture,  painted  for  a  chapel  which  was  especially 
arranged  to  bring  all  its  beauties  into  relief.  It  is 
the  crowning  work  of  this  great  master:  it  estab- 
lished his  fame  and  led  to  his  employment  by  the 
State.  The  three  angels  playing  musical  instru- 
ments at  the  foot  of  the  throne  are  especially  grace- 
ful. 

"As  a  piece  of  oil  painting  and  what  the  artists  call 
composition  with  entire  grasp  and  knowledge  of  the  ac- 
tion of  the  human  body,  the  perspectives  of  the  human 
face,  and  the  relations  of  shade  to  colour  in  expressing 
form,  the  picture  is  deservedly  held  unsurpassable." — 
(J.  R.) 

The  Madonna  with  a  Choir  of  Cherubs  is  an 

early  work,  and  is  noted  for  the  beauty  of  the  Vir- 
gin and  the  wondering  expression  of  the  lovely 
339 


340  THE   ACADEMY 

Child,  the  landscape  background  and  the  circle  of 
rosy  cherubs  in  the  sky. 

"  Here  there  is  a  conscious  attempt  at  a  strange  effect 
of  light,  this  time  of  early  dawn,  the  pale  apricot  glow 
in  the  sky  indicating  the  exact  moment  when  the  white 
of  the  Virgin's  headdress  becomes  luminous,  though  the 
flesh  is  still  dull  in  tone.  The  charming  conceit  of  the 
choir  of  cherubim  amusing  the  Infant  Christ  (now  en- 
tirely human)  marks  the  change  in  Bellini's  feeling." — 
(R.  E.  F.) 

In  the  Madonna  between  St.  Catherine  and 
Mary  Magdalen,  three  beautiful  female  figures 
stand  out  from  a  dark-green  background  with 
great  effect.  The  Virgin  is  in  the  centre  hold- 
ing the  Child ;  on  her  right,  St.  Catherine  with 
pearls  and  flowers  in  her  hair;  and  on  her  left 
Mary  Magdalen.  The  picture  is  very  thinly 
painted  and  glazed. 

"  The  illumination  and  the  colour  scheme  are  peculiar, 
and  appear  to  have  been  suggested  by  a  lamplight  effect. 
The  way  in  which  the  local  colours  are  all  modulated  to  a 
single  key  of  rich  golden  brown  is  an  anticipation  of  Ti- 
tian's art  of  arousing  the  sensation  of  colour  by  a  varied 
monochrome.  Here,  for  instance,  so  perfectly  is  the  key 
kept  throughout  that  the  periwinkles  in  St.  Catherine's 
hair  appear  blue,  although  the  actual  pigment  is  almost  a 
brown  grey." — (R.  E.  F.) 

The  Madonna  of  the  Two  Trees  (1487)  takes 
its  name  from  the  formal  trees  that  stand  on  either 
side  of  the  parapet  of  marble. 

''  We  know  not  which  to  admire  most,  the  noble  gravity 
of  the  mother  or  the  pulsation  of  life  in  the  Child.  Bel- 
lini never  so  completely  combined  relief  with  transparence, 
or  golden  tinge  of  flesh  with  rich  and  tasteful  harmony  of 
tints.  By  dint  of  perseverance  he  had  succeeded  in  los- 
ing all  trace  of  hardness  and  acquired  what  may  be  called 
the  Giorgionesque  touch." — (C.  and  C.) 

Another  early  work  is  the  Virgin  and  Child 


MADONNA  OF  THE  TWO  TREES— Bellini 

VENICE   ACADEMY 


o 


VENICE  341 

between  St.  Paul  and  St.  George.     It  has  a  red 

hanging  behind  the  Virgin,  on  each  side  of  which 
the  sky  is  visible. 

"  This  work  is  unrivalled  for  its  extreme  precision  of 
drawing,  its  breadth  of  light  and  shade,  easy  cast  of  drap- 
ery and  bright  enamel  of  colour." — (C.  and  C.) 

Five  Allegories  are  supposed  to  have  been 
painted  as  panels  for  a  cassone.  They  were  doubt- 
less inspired  by  some  mediaeval  work. 

"  The  art  is  classic  like  that  of  an  old  cameo,  recalls  the 
Florentines,  Pollaiuolo,  or  Botticelli,  reveals  the  study  of 
the  antiques  treasured  in  the  museums  of  Venetian  pal- 
aces and  breathes  the  spirit  of  Titian's  later  bacchanales. 
But  the  feeling,  substance  and  handling  are  not  so  much  a 
prelude  to  Titian  as  they  are  to  Giorgione." — (C.  and  C.) 

Gentile  Bellini's  True  Cross  tells  a  story.  The 
Cross,  having  fallen  into  a  canal  during  a  pro- 
cession to  St.  Lorenzo,  is  saved  by  Andrea  Ven- 
dramin,  Guardian  of  the  Confraternity.  Catarina 
Cornaro,  Queen  of  Cyprus,  and  her  suite  are 
among  the  spectators  lining  the  sides  of  the  canal. 
Foremost  amongst  a  kneeling  group  on  the  right, 
is  said  to  be  the  artist  himself.  The  picture  is 
particularly  interesting  as  a  record  of  Mediaeval 
Venetian  architecture  and  the  ancient  type  of 
gondola  without  the  tall  necked  prow. 

Gentile  Bellini's  Miracle  of  the  Holy  Cross 
is  laid  in  the  piazza  S.  Marco,  showing  the  church 
of  St.  Mark  in  minute  detail.  The  procession  has 
issued  from  a  gate  between  the  church  and  the 
Ducal  Palace.  Near  the  shrine  the  Brescian  mer- 
chant, Jacopo  Salis,  whose  son  was  cured,  is 
kneeling. 

"  The  Procession  in  the  Piazsa  of  Saint  Mark  is  an 
archaeological  curiosity.  You  see  at  once  that  it  is  St. 
Mark's  Piazza  in  1496.  The  Campanile  did  not  exist,  and, 


342  THE   ACADEMY 

with  a  single  exception  the  mosaics  on  the  exterior  were 
not  the  same  as  they  are  to-day.  The  finials  on  the  facade, 
the  arches,  the  statues  and  the  horses  from  Corinth  are 
gilded.  The  composition  preserves  a  miraculous  episode 
related  by  Ridolfi.  A  merchant  of  Brescia  whose  son  had 
knocked  his  head  against  a  column  and  was  in  danger  of 
death,  made  a  vow  to  the  Holy  Cross  as  the  relic  passed 
in  the  Procession  on  the  Piazza  of  St.  Mark  and  his  son 
was  cured.  The  members  of  the  Brotherhood  are  present 
bearing  candles  in  their  hands  and  the  square  is  filled  with 
an  animated  crowd  in  brilliant  and  varied  costumes.  Here, 
where  Giovanni  Bellini  would  have  given  us  touching  ex- 
pression, Gentile  only  sees  a  vast  parade,  a  luminous  scene 
which  pleases  the  eye  and  serves  as  an  historical  docu- 
ment."— (C.  B.) 

Titian's  Assumption  always  has  an  admiring 
throng  before  it. 

"  The  Assunta  is  one  of  Titian's  greatest  works,  the 
one  in  which  he  attains  his  highest  flight  :  the  composition 
i-  balanced  and  distributed  with  infinite  artTTne  upper 
portion,  which  is  arched,  represents  Paradise:  garlands 
of  angels  floating  and  submerged  in  a  wave  of  light  of 
incalculable  depth,  stars  scintillating  in  the  flame,  and 
brighter  glints  of  the  everlasting  light  from  the  aureole 
of  the  Father,  who  arrives  from  the  depths  of  the  infinite 
with  the  action  of  a  hovering  eagle,  accompanied  by  an 
archangel  and  a  seraph  whose  hands  support  the  crown 
and  the  nimbus. 

"  ThisTehovah,  like  a  divine  bird  appearing  head-fore- 
^'  horizontally  foreshortened  beneath  a 


wave  of  drapery  flying  open  like  wings,  astonishes  us  by 
its  sublime  boldness;  if  it  is  possible  for  the  brush  of  a 
human  being  to  give  'a'  countenance  to  divinity,  certainly 
Titian  has  succeeded.  Unlimited  power  and  imperishable 
youth  radiate  from  that  white-bearded  face  that  need 
only  nod  for  the  snows  of  eternity  to  fall  :  not  since  the 
Olympian  Jove  of  Phidias  has  the  lord  of  heaven  and 
earth  been  represented  more  worthily. 

"  The  centre  of  the  picture  is  occupied  by  the  Virgin 
Mary,  who  is  surrounded  by  a  wreath  of  angels  and  souls 
of  the  blessed:  for  she  has  no  need  of  any  aid  to  mount 


VENICE  343 

to  Heaven ;  she  rises  by  the  springing  upward  of  her  ro- 
bust faith,  by  tfie  purity  of  her  soul,  which  is  lighter  than 
the  most  luminous  ether.  Truly  there  is  in  this  figure  an 
unheard-of  force  of  ascension.  The  Madonna  is  a  very 
true,  very  living,  and  very  real  woman,  with  a  beauty  as 
solid  as  that  of  the  Venus  de  Milo,  or  the  sleeping  wo- 
man in  the  Tribune  of  Florence. 

"  At  the  base  of  the  picture,  the  apostles  are  grouped 
in    happily-contrasted    attitudes    of   rapture    and    surprise. 
Two  or  three  little  angels,  who  link  them  to  the  inter- 
mediary zone  of  the  composition,  seem  to  be  explaining  to 
them  the  miracle  that  is  taking  place.     The  heads  of  the  - 
apostles,    who    are   of   various   ages    and   characters,    are 
painted  with  a  surprising  force  of  vitality  and  reality.  The  ^ 
draperies  are  of  that  fullness  and  abundant  flow  that  char-  ^ 
acterise  "Titian   as   the   richest  and  at  the   same  time  the 
simplest  of  all  painters." — (T.  G.) 

The  Pieta  was  the  picture  at  which  Titian  was 
working  when  death  claimed  him  at  the  age  of 
ninety-nine. 


"  This  picture,  so  grave  and  melancholy,  the  subject  of 
which  seems  a  presentiment,  represents  a  Descent  from  the 
Cross.  The  sky  is  dark,  a  livid  gleam  illumines  the  corpse 
piously  held  by  Joseph  of  Arimathea  and  Magdalen.  They 
are  both  sad,  sombre,  and  depressed,  and  seem  to  despair 
of  their  Lord's  resurrection.  In  fact,  TJtjan  never  painted 
a  more  lifeless  corpse.  For  the  first  time,  the  great  Ve- 
netian has  lost  his  ancient  and  unalterable  serenity.  The 
shadow  of  approaching  death  seems  to  struggle  with  the 
light  of  the  painter  who  always  had  sunlight  on  his  palette, 
and  envelops  the  picture  in  a  cold  twilight.  The^^rtisCs 
hand  froze  before  his  task  was  finished,  as  is  shown  by 
an  inscription  in  the  corner:  'The  work  which  Titian  left 
unfinished,  £ajjflik  respectfully  completed,  and  offered  \S 
to  God.'  This  noble,  touching,  and  religious  inscription 
makes  a  monument  of  this  picture.  Great  painter  as 
Palma  was,  he  could  only  have  approached  the  master's 
work  with  trepidation,  and  his  brush,  able  as  it  was, 
doubtless  hesitated  and  vacillated  more  than  once  as  it 
went  over  Titian's  strokes." — (T.  G.) 

The  Presentation  in  the  Temple  is  the  finest 


344  THE   ACADEMY 

and  most  complete  creation  of  Venetian  art  since 
the  Peter  Martyr  and  the  Madonna  di  Casa, 
Pesaro. 

"It  was  in  the  nature  of  Titian  to  represent  a  subject 
like  this  as  a  domestic  pageant  of  his  own  time,  and  seen 
in  this  light,  it  is  exceedingly  touching  and  surprisingly 
beautiful.  Mary  in  a  dress  of  celestial  blue  ascends  the 
steps  of  the  temple  in  a  halo  of  radiance.  She  pauses  on 
the  first  landing  place,  and  gathers  her  skirts,  to  ascend 
to  the  second.  The  flight  is  in  profile  before  us.  At  the 
top  of  it  the  high  priest  in  Jewish  garments  looks  down 
at  the  girl  with  serene  and  kindly  gravity,  a  priest  in 
cardinal's  robes  at  his  side,  a  menial  in  black  behind  him, 
and  a  young  acolyte  in  red  and  yellow  holding  the  book 
of  prayer.  At  the  bottom  are  people  looking  up,  some 
leaning  on  the  edge  of  the  steps,  others  about  to  ascend, 
— Anna,  with  a  matron  in  company ;  Joachim  turning  to 
address  a  friend.  Curious  people  press  forward  to  wit- 
ness the  scene,  and  a  child  baits  a  little  dog  with  a  cake. 
Behind  and  to  the  left  and  with  grave  solemnity,  some 
dignitaries  are  moving.  Uniting  the  majestic  lines  of  a 
composition  perfect  in  the  balance  of  its  masses  with  an 
effect  unsurpassed  in  its  contrasts  of  light  and  shade,  the 
genius  of  the  master  has  laid  the  scene  in  palatial  archi- 
tecture of  great  simplicity.  From  the  windows  and  bal- 
conies the  spectators  look  down  upon  the  ceremony,  or 
converse  with  the  groups  below.  With  instinctive  tact  the 
whole  of  these  are  kept  in  focus  by  appropriate  grada- 
tions of  light,  which  enable  Titian  to  give  the  highest 
prominence  to  the  Virgin,  though  she  is  necessarily  smaller 
than  any  other  person  present.  The  bright  radiance 
round  her  fades  as  it  recedes  to  the  more  remote  groups 
in  the  picture,  the  forms  of  which  are  cast  into  deeper 
gloom  in  proportion  as  they  are  more  distant  from  the  halo, 
the  monumental  dignity  of  the  groups  and  architecture 
X*Mhe  distance  perfectly  corresponds.  We  admire  the  won- 
derful expressiveness  of  the  painter's  mountain  lines.  The 
splendid  contrast  of  palaces  and  Alps  tells  of  the  master 
who  was  born  at  Cadore,  yet  lived  at  Venice.  The  har- 
mony of  the  colours  is  so  true  and  ringing,  and  the  chords 
are  so  subtle,  that  the  eye  takes  in  the  scene  as  if  it  were 


VENICE  345 

one   of   natural    richness,    unconscious   of   the    means   by 
which  that  richness  is  attained. 

"  The  picture  is  built  up  in  colours,  the  landscape  is  not 
a  symbol,  but  scenic,   and  the  men  and  palaces  and  hills 
are  seen  living  or  life-like  in  sun  and  shade  and  air.     In  \f 
this    gorgeous    yet    masculine    and    robust    realism    Titian  V*~ 
shows  his  great  originality  and  claims  to  be  the  noblest  \s~ 
representative    of    the    Venetian    school    of    colour." — (C.  v 
and  C.) 

St.  Mark  Rescuing  a  Slave  is  an  early  Tin- 
toret  in  his  full  Titianesque  golden  tone. 

"  In  this  picture,  perhaps  for  the  first  time,  Tintoretto 
goes  beyond  all  the  traditional  Venetian  aims  in  painting. 
The  scene  is  far  more  living,  and  rather  confused.  The 
artist  tries  for  foreshortenings  of  the  most  difficult  kind, 
and  betrays,  for  instance,  in  the  ugly  Saint  floating  head 
downwards,  that  all  higher  considerations  are  nothing  to 
him,  as  long  as  he  has  the  opportunity  to  display  his  mas- 
tery of  external  means.  (Rubens  studied  much  from  this 
picture.)  There  is  also  an  equally  beautifully  painted, 
but  frivolous  representation  of  the  /4</M//r£.M,  who  shows 
that  she  has  no  respect  for  the  commonplace  Christ." — 
(J-  B.) 

The  Fall  of  Man,  sometimes  simply  called 
Adam  and  Eve,  and  the  Death  of  Abel  are  un- 
fortunately rather  at  a  disadvantage  by  having 
their  quiet  warm  brown  colouring  thrust  into  too 
close  proximity  to  the  Miracle  of  St.  Mark,  and 
all  three  pictures  suffer  from  the  colour  of  the 
wall.  The  Death  of  Abel  is  the  finer  composi- 
tion. 

"  There  is  no  artificiality  about  it,  no  struggle  for  bal- 
ance and  symmetry,  which  is  perhaps  just  evident  in  the 
other;  and  the  result  is  completely  satisfactory  because 
it  defies  analysis.  The  conception  is  as  good  as  the  com- 
position ;  the  tempest  of  motion  that  the  winds  of  passion 
have  stirred — the  sad  world  of  sombre  browns — with  just 
a  hope  of  better  things  suggested  in  the  blue  vista  be- 
yond. There  is  plenty  of  colour,  nevertheless,  in  these 


346  THE   ACADEMY 

low  tones,  exquisitely  lovely  in  their  gradations,  and  the 

drawing    is   no    less    wonderful    than    the    colour.       Only 

Raphael  could  have  drawn  a  figure  so  splendid  as  that  of 

'Abel.     But   if  this   pose  and   its   contours   are   a  marvel, 

|  what  is  to  be  said  of  the  modelling  of  Adam's  back  in 

>the   companion    picture?     Many    think   it    unsurpassed    in 

^this  world."— (J.  B.  S.  H.) 

Mantegna's  St.  George  is  notable  for  a  land- 
scape marvellous  in  its  detailed  truthfulness: 

"  To  which  give  ten  minutes  quietly,  and  examine  it  with 
a  magnifying  glass  of  considerable  power.  For  in  that 
you  have  a  perfect  type  of  the  Italian  methods  of  execu- 
tion corresponding  to  the  finish  of  the  Dutch  painters  in 
the  north ;  but  far  more  intellectual  and  skilful.  You 
cannot  see  more  wonderful  work,  in  minute  drawing  with 
the  point  of  the  brush ;  the  virtue  of  it  being  that  not  only 
every  touch  is  microscopically  minute,  but  that,  in  this 
minuteness,  every  touch  is  considered  and  every  touch 
right.  It  is  to  be  regarded,  however,  only  as  a  piece  of 
workmanship.  It  is  wholly  without  sentiment,  though  the 
distant  landscape  becomes  affecting  through  its  detailed 
truth — the  winding  road  under  the  rocks,  and  the  towered 
city,  being  .as  full  of  little  pretty  things  to  be  searched  out 
as  a  natural  scene  would  be." — (R.) 

Finest  of  Veronese's  paintings  here  is  his  grand 
altar-piece  from  San  Zaccaria.  The  Madonna  is 
a  beautiful  and  high-bred  Venetian  lady,  and  the 
richly  attired  prelate  bending  before  her  has  little 
of  the  saint  about  him.  The  freedom  and  full, 
broad  manner  of  the  picture,  and  the  brilliant, 
though  most  tender,  colour  are  altogether  superb. 
In  these  respects,  it  is  surely  one  of  the  finest  of 
pictures. 

A  large  Madonna  Enthroned  with  Saints  is 
a  splendid  composition  in  which  the  figures  are 
finely  modelled,  especially  the  infant  St.  John. 

"  This  is  a  characteristic  example  of  the  master,  espe- 
cially in  its  chromatic  scheme.  St.  Jerome's  head  is  of  a 


VENICE  347 

noble  type.  He  is  represented  in  a  crimson  velvet  hood 
and  a  watered  silk  robe  of  a  pale  rose  tint ;  the  whole  ex- 
quisitely harmonized.  The  marble  inlay  of  the  pedestal  is 
carefully  and  delicately  rendered." — (C.  L.  E.) 

The  Supper  in  the  House  of  Levi  was  appro- 
priately paid  for,  in  part,  with  a  few  barrels  of 
wine,  the  rest  being  what  the  poor  monks  could 
scrape  together  in  the  way  of  alms  and  penalties 
to  replace  a  burned  Titian  in  their  refectory. 

"  Many  of  the  figures,  especially  that  of  the  master  of 
the  feast,  are  full  of  the  noblest  Venetian  character.  It 
was  this  picture  that  caused  him  to  be  hauled  before  the 
Inquisition  for  his  irreverence  in  painting  buffoons, 
drunkards,  Germans,  dwarfs,  and  similar  indecencies,  at 
supper  with  our  Lord.  It  resembles  the  other  feasts  in 
the  Louvre  and  elsewhere  except  that  in  this  the  archi- 
tecture occupies  too  large  a  place.  It  not  only  fills  the 
whole  upper  part  of  the  composition,  dividing  it  into  ar- 
cades decorated  with  female  bas-reliefs,  but  it  is  continued 
below,  where,  as  ever,  we  see  pages  playing  with  big 
hounds  in  the  balustered  staircases,  negroes  bringing  in 
beakers,  and  blonde  Venetian  ladies  with  golden  locks." — 
(C.  B.) 

"  We  could  not  leave  Venice  without  going  to  the 
Academy  if  only  to  see  one  picture  by  Veronese  among 
many  others.  I  speak  of  the  Virgin  Presenting  her  Son 
to  St.  Jerome,  St.  Francis  and  St.  Justine,  a  marvel  of 
colour.  The  little  St.  John,  who,  standing  on  a  pedestal, 
is  giving  his  hand  to  St.  Francis,  is  a  delicious  piece  of 
morbidezza,  grace  and  freshness.  The  composition  is 
strange  and  lacking  in  unity,  the  personages  are  placed 
without  relation  to  one  another,  or  speaking  to  one  an- 
other. The  Infant  Jesus  is  simply  adorable.  And  what 
life-like  heads !  What  an  unexplicable  enchantment ! 
What  irresistible  magic!  " — (C.  B.) 

By  Carpaccio  there  are  eleven  important  pictures, 
eight  from  the  legend  of  St.  Ursula.  Ruskin  rec- 
ommends looking  at  them  in  the  following  order. 

"  I.  Maurus,  the  King  of  Brittany,  receives  the  English 


348  THE   ACADEMY 

ambassadors,  and  has  talk  with  his  daughter  touching 
their  embassy.  II.  St.  Ursula's  Dream.  III.  King  Maurus 
dismisses  the  English  ambassadors  with  favourable  answer 
from  his  daughter.  (This  is  the  most  beautiful  piece  of 
painting  in  the  rooms.)  IV.  The  King  of  England  receives 
the  Princess's  favourable  answer.  V.  The  Prince  of  Eng- 
land sets  sail  for  Brittany,  there  receives  his  bride,  and 
embarks  with  her  on  pilgrimage.  VI.  The  Prince  of  Eng- 
land and  his  bride,  voyaging  on  pilgrimage  with  the  eleven 
thousand  maidens,  arrive  at  Rome,  and  are  received  by 
the  Pope,  who,  'with  certain  Cardinals,'  joins  their  pil- 
grimage. (The  most  beautiful  of  all  the  series,  next  to 
the  Dream.)  VII.  The  Prince  with  his  bride,  and  the 
Pope  with  his  Cardinals,  and  the  eleven  thousand  maids, 
arrive  in  the  land  of  the  Huns,  and  receive  martyrdom 
there.  In  the  second  part  of  the  picture  is  the  funeral  pro- 
cession of  St.  Ursula.  VIII.  Ursula,  with  her  maidens, 
and  the  pilgrim  Pope,  and  certain  Cardinals,  in  glory  of 
Paradise.  The  architecture  and  landscape  are  unsurpass- 
ably  fine ;  the  rest  much  imperfect ;  but  containing  noble- 
ness only  to  be  learned  by  long  dwelling  on  it." 

In  the  Dream  of  St.  Ursula 

"  Carpaccio  has  taken  much  pains  to  explain  to  us,  as 
far  as  he  can,  the  kind  of  life  she  leads,  by  completely 
painting  her  little  bedroom  in  the  light  of  dawn,  so  that 
you  can  see  everything  in  it.  It  is  lighted  by  two  doubly- 
arched  windows,  the  arches  being  painted  crimson  round 
their  edges,  and  the  capitals  of  the  shafts  that  bear  them, 
gilded.  They  are  filled  at  the  top  with  small  round  panes 
of  glass ;  but  beneath,  are  open  to  the  blue  morning  sky, 
with  a  low  lattice  across  them ;  and  in  the  one  at  the  back 
of  the  room  are  set  two  beautiful  white  Greek  vases  with 
a  plant  in  each ;  one  having  rich  dark  and  pointed  green 
leaves,  the  other  crimson  flowers. 

"  These  flower-pots  stand  on  a  shelf  which  runs  all 
round  the  room,  and  beneath  the  window,  at  about  the 
height  of  the  elbow,  and  serves  to  put  things  on  any- 
where :  beneath  it,  down  to  the  floor,  the  walls  are  cov- 
ered with  green  cloth;  but  above  are  bare  and  white. 
The  second  window  is  nearly  opposite  the  bed,  and  in 
front  of  it  is  the  princess's  reading-table  covered  by  a  red 


03 


VENICE  349 

cloth  with  a  white  border  and  dainty  fringe;  and  beside 
it  her  seat,  a  very  small  three-legged  stool  like  a  music 
stool,  covered  with  crimson  cloth.  On  the  table  are  a  book 
set  upon  a  slope  fittest  for  reading,  and  an  hour-glass.  Un- 
der the  shelf,  so  as  to  be  easily  reached  by  the  out- 
stretched arm,  is  a  press  full  of  books.  Opposite  this  win- 
dow, on  the  white  wall,  is  a  small  shrine,  or  picture,  with 
a  lamp  before  it,  and  a  silver  vessel  hung  from  the  lamp, 
looking  like  one  for  holding  incense. 

"  The  bed  is  a  broad  four-poster,  the  posts  being  beau- 
tifully wrought  golden  or  gilded  rods,  variously  wreathed 
and  branched,  carrying  a  canopy  of  warm  red.  The 
princess's  shield  is  at  the  head  of  it,  and  the  feet  are  raised 
entirely  above  the  floor  of  the  room,  on  a  dais  which  pro- 
jects at  the  lower  end  so  as  to  form  a  seat,  on  which  the 
child  has  laid  her  crown.  Her  little  blue  slippers  lie  at 
the  side  of  the  bed, — her  white  dog  beside  them,  the  cover- 
lid is  scarlet,  the  white  sheet  folded  half  way  back  over  it; 
the  young  girl  lies  straight,  bending  neither  at  waist  nor 
knee,  the  sheet  rising  and  falling  over  her  in  a  narrow 
unbroken  wave,  like  the  shape  of  the  coverlid  of  the  last 
sleep,  when  the  turf  scarcely  rises.  She  is  some  seven- 
teen or  eighteen  years  old,  her  head  is  turned  towards  us 
on  the  pillow,  the  cheek  resting  on  her  hand,  as  if  she 
were  thinking,  yet  utterly  calm  in  sleep,  and  almost  col- 
ourless. Her  hair  is  tied  with  a  narrow  riband,  and  di- 
vided into  two  wreaths,  which  encircle  her  head  like  a 
double  crown.  The  white  nightgown  hides  the  arm  raised 
on  the  pillow,  down  to  the  wrist. 

"  At  the  door  of  the  room  an  angel  enters  (the  little 
dog,  though  lying  awake,  vigilant,  takes  no  notice).  He 
is  a  very  small  angel,  his  head  just  rises  a  little  above  the 
shelf  round  the  room,  and  would  only  reach  as  high  as 
the  princess's  chin,  if  she  were  standing  up.  He  has  soft 
grey  wings,  lustreless;  and  his  dress,  of  subdued  blue, 
has  violet  sleeves,  open  above  the  elbow,  and  showing 
white  sleeves  below.  He  comes  in  without  haste,  his  body, 
like  a  mortal  one,  casting  shadow  from  the  light  through 
the  door  behind,  his  face  perfectly  quiet;  a  palm-branch  in 
his  right  hand — a  scroll  in  his  left. 

"  So  dreams  the  princess,  with  blessed  eyes,  that  need 
no  earthly  dawn.  But  the  lovely  characteristic  of  all  is 
the  evident  delight  of  her  continual  life.  Royal  power 


350  THE   ACADEMY 

over  herself,  and  happiness  in  her  flowers,  her  books,  her 
sleeping  and  waking,  her  prayers,  her  dreams,  her  earth, 
her  heaven." — (R.) 

Bordone's  Fisherman  Presenting  St.  Mark's 
Ring  to  the  Doge  treats  of  a  popular  Venetian 
legend.  One  night  three  mysterious  persons  bade 
a  gondolier  take  them  to  the  Lido.  Soon  the 
lagoon  began  to  chop  and  swell  strangely,  the  waves 
gleamed  with  sinister  lights ;  monstrous  apparitions 
approached  to  the  great  terror  of  the  gondolier ; 
and  hideous  devils,  half  man,  half  fish,  seemed  to 
swim  from  the  Lido  towards  Venice,  making 
the  waves  emit  thousands  of  sparks  and  exciting 
the  tempest  with  whistling  and  fiendish  laughter 
in  the  storm ;  but  the  shining  swords  of  the  two 
knights  and  the  extended  hand  of  the  saintly  per- 
sonage made  them  recoil  and  vanish.  The  battle 
lasted  for  a  long  time ;  new  demons  constantly  suc- 
ceeded the  others ;  however,  the  victory  remained 
with  the  personages  in  the  boat,  who  had  them- 
selves taken  back  to  the  landing  of  the  Piazzetta. 
As  they  were  about  to  separate,  the  oldest  of  the 
group  said  to  the  gondolier :  "  I  am  Saint  Mark, 
the  patron  of  Venice.  I  learned  to-night  that  the 
devils  assembled  at  the  Lido  had  determined  to 
bring  on  a  frightful  tempest  and  overthrow  my 
beloved  city."  St.  Mark  then  gave  his  ring  to  the 
gondolier  and  told  him  to  take  it  to  the  Doge. 

"  The  moment  selected  by  Paris  Bordone  is  that  when 
the  gondolier  falls  on  his  knees  before  the  Doge.  The 
composition  of  the  scene  is  very  picturesque ;  you  see  in 
perspective  a  long  row  of  the  brown  or  grey  heads  of  sen- 
ators of  the  most  magisterial  character.  Curious  spec- 
tators are  on  the  steps,  forming  happily-contrasted  groups : 
the  beautiful  Venetian  costume  is  displayed  here  in  all  its 
splendour.  Here,  as  in  all  the  canvases  of  this  school,  an 


VENICE  351 

important  place  is  given  to  architecture.  The  background 
is  occupied  by  fine  porticos  in  the  style  of  Palladio,  ani- 
mated with  people  coming  and  going.  This  picture  pos- 
sesses the  merit,  sufficiently  rare  in  the  Italian  school, 
which  is  almost  exclusively  occupied  with  the  reproduction 
of  religious  or  mythological  subjects,  of  representing  a 
popular  legend,  a  scene  of  manners,  in  a  word,  a  romantic 
subject  such  as  Delacroix  or  Louis  Boulanger  might  have 
chosen  and  treated  according  to  his  own  special  talent; 
and  this  gives  it  a  character  of  its  own  and  an  individual 
charm." — (T.  G.) 

Another  picture  here,  which  has  been  attrib- 
utd  to  various  painters  (Vasari  gives  it  to  Palma 
Vecchio),  represents  the  Combat  between  the 
Saints  and  Demons. 

"  The  tempest  in  the  Venice  academy — that  spacious, 
but  inky,  canvas,  in  which  the  large  and  impulsive  hand- 
ling of  an  advanced  Sixteenth  Century  craftsman  is  ap- 
parent under  layers  of  more  recent  deposit — was  never 
touched  by  Giorgione,  or,  if  it  was,  underwent  such  com- 
plete transformation  as  to  appear  in  part  at  least — by 
Paris  Bordone ;  nor  can  we  reconcile  the  calm  and  refined 
individuality  of  the  painter  of  the  Pitti  Concert  with  the 
wildness  of  this  stormy  sea,  the  fantastic  agility  of  the 
imps  in  the  rigging  of  the  labouring  galley,  or  the  muscu- 
lar mould  of  the  brawny  fisher  under  straining  at  the 
row-locks  before  the  saints  in  the  distant  bark  have 
quelled  the  fury  of  the  waves." — (C.  and  C.) 

The  Cure  of  a  Lunatic,  by  Carpaccio,  is  a  scene 
on  the  Grand  Canal,  near  the  old  wooden  Rialto 
bridge,  in  which  the  Patriarch  di  Grado,  by  vir- 
tue of  the  relics  of  the  Holy  Cross,  delivers  a  man 
possessed  of  a  devil.  On  the  left,  officers  of  state 
are  gathered  under  the  portico  of  a  palace. 

"  In  the  loggia  above,  a  crowd  of  ecclesiastics  (some 
bearing  large  and  massive  candalabra)  pay  reverence  to 
the  sacred  relics.  The  foreground  is  occupied  by  boats 
and  gondolas  in  which  richly-attired  persons  are  sitting. 


352  THE   ACADEMY 

The  gondoliers  are  gaily  and  picturesquely  attired.  The 
roofs  and  chimneys  of  -Gothic  Venice,  set  against  the 
warm  tones  of  an  evening  sky,  are  very  truthful  in  ef- 
fect. The  faces  of  many  of  the  figures  have  great  char- 
acter and  expression." — (C.  L.  E.) 

The  Presentation  in  the  Temple  is  an  excel- 
lent example  of  Carpaccio's  later  manner  when  he 
painted  with  a  full  brush  and  his  execution  was 
supple. 

"  It  is  signed  and  dated  1510;  and  is  generally  consid- 
ered his  masterpiece.  The  Virgin,  holding  the  Child  and 
followed  by  two  women  of  exquisite  grace,  presents  her 
Son  to  Simeon  who,  superbly  robed,  bows  before  Him. 
In  the  lower  part  of  the  picture,  three  angels,  celestial 
musicians,  complete  the  composition,  and  temper  its  se- 
verity by  the  familiar  grace  of  their  infantile  attitudes.  To 
the  feeling  of  the  heads  and  the  religious  fervour,  is  also 
joined  the  charm  of  a  powerful  and  unctuous  colouring." 
-(P.  M.) 

Bartolommeo  Vivarini's  Madonna  and  Four 
Saints  (1464)  is  one  of  the  master's  earliest 
works,  being-  painted  with  the  old  Byzantine  taste 
on  a  gold  ground. 

"  A  noble  picture ;  not  of  any  supreme  genius,  but  com- 
pletely containing  the  essence  of  Venetian  art." — (R.) 

Rocco  Marconi,  who  was  a  devoted  follower  of 
Palma  Vecchio  and  whose  style  also  resembles  the 
Spaniard,  Juan  de  Juanes,  has  a  masterpiece  here, 
full  of  grandeur  and  touching  expression. 

"  Few  have  equalled  his  colouring  in  glow  and  trans- 
parency. He  was  very  unequal  in  his  characters,  but  put 
forth  his  whole  strength  in  a  great  effort — the  Descent 
from  the  Cross." — (J.  B.) 

Cima  da  Conegliano  has  two  masterpieces  here: 
Christ  between  St.  Thomas  and  St.  Magnus 


VENICE  353 

and  Tobias  and  the  Angel  with  St.  Nicholas 
of  Bari  and  St.  James.  The  latter  is 

"  an  entirely  sincere  and  noble  picture  of  the  central 
epoch.  Not  supreme  in  any  artistic  quality,  but  good  and 
praiseworthy  in  all;  and,  as  a  conception  of  its  subject, 
the  most  beautiful  you  will  find  in  Venice." — (R.) 

Boccaccio  Boccaccino  (of  Cremona),  who  some- 
times shows  the  influence  of  Cima,  rather  reveals 
his  indebtedness  to  Vivarini  in  a  beautiful  com- 
position of  high  finish. 

"  It  is  a  Madonna  with  Four  Saints  (Peter,  John,  Cath- 
erine and  Rosa)  seated  in  the  open  air;  one  of  the  earliest 
and  most  beautiful  examples  of  this  type  of  Holy  Con- 
versations with  kneeling  and  sitting  figures  in  a  land- 
scape around  them,  for  which,  later  on,  Palma  and  Titian 
showed  such  strong  predilection." — (J.  B.) 

Bonifazio's  Banquet  of  Dives  is  an  invasion  of 
the  domains  of  Veronese. 

"  Bonifazio  was  a  portrait  painter.  His  studied  and 
characteristically  individual  faces  faithfully  recall  the 
patrician  types  of  Venice  who  so  often  posed  for  him. 
The  anachronism  of  the  costume  shows  that  Lazarus  is 
merely  a  pretext,  and  that  the  real  subject  of  the  picture 
is  a  banquet  of  the  lords  with  courtesans,  their  mistresses, 
in  one  of  those  beautiful  palaces  that  bathe  their  marble 
feet  in  the  green  water  of  the  Grand  Canal." — (T.  G.) 

There  are  two  fine  works  by  Marco  Basaiti. 

"  To  1510  belongs  the  Calling  of  the  Sons  of  Zebedee; 
and,  to  the  same  time,  the  Agony  in  the  Garden,  with 
the  hanging  lamp  and  leafless  tree  seen  against  a  solemn 
toned  evening  sky — a  picture  of  great  earnestness  in  the 
person  of  the  Saviour." — (A.  H.  L.) 

Pordenone's  San  Lorenzo  Guistiniani  with  six 
other  figures  has  a  great  reputation. 

"  The   composition  unites   all   the   peculiar  qualities   of 


354  THE   ACADEMY 

the   master,   and   we   can   see   that   a   supreme   effort   has 
been  made  to  produce  a  grand  impression." — (C.  and  C.) 

Very  celebrated  is  Christ  at  the  Column,  by 
Antonello  da  Messina. 

"  The  head  of  Christ  is  wild  and  superb,  the  lips  are 
half  open  and  seem  to  cry  out,  the  black  eyes  are  raised 
to  Heaven  with  an  extraordinary  expression  of  anguished 
desolation.  The  execution  is  rather  hard  and  dry,  but  the 
work  is  poignant  in  sentiment  and  irresistibly  eloquent." — 
(P.  M.) 

In  a  gallery  that  contains  few  examples  of  the 
early  art  of  the  Netherlands,  Lucas  van  Leyden's 
Mystic  Marriage  of  St.  Catherine  is  conspicu- 
ous. It  has  a  charming  landscape  background. 
The  vine-leaves  on  the  arched  trellis  behind  the 
Virgin's  throne  are  painted  with  loving  minuteness. 

Bernard  Van  Orley  has  a  delicate  and  carefully 
studied  portrait  of  a  Young  Woman. 

Of  the  Primitivis,  there  is  an  exquisite  portrait 
of  Lorenzo  Fraimont,  by  Roger  Van  der  Wey- 
den. 

"  The  hands,  remarkable  for  their  delicate  modelling 
are  clasped  in  prayer.  The  warm  brown  flesh  tones  are 
scarcely  relieved  by  shadow.  Dark  blue  background.  This 
most  interesting  and  exquisitely  finished  work  was  for- 
merly ascribed  to  Holbein." — (C.  L.  E.) 


THE    BRERA 
MILAN 

IN  the  Palazzo  di  Brera,  built  for  a  Jesuit  College 
in  1651,  and  now  the  home  of  science,  letters  and 
art,  the  Picture  Gallery  founded  in  1806  is  housed. 
The  collection  has  been  greatly  enlarged  since 
1901.  The  Brera  is  rich  in  examples  of  the  Lom- 
bard and  Venetian  Schools.  The  gem  of  the 
Gallery  is  regarded  as  Raphael's  Sposalizio. 

In  1503,  the  Franciscans  of  Citta  di  Castello 
ordered  a  picture  representing  the  Marriage  of 
the  Virgin.  It  was  delivered  the  following  year ; 
and,  in  general  character,  greatly  resembles  the 
same  subject,  painted  in  1496,  by  his  master,  Peru- 
gino,  in  whose  studio  he  was  then  working. 

"  Nothing  could  be  more  unjust  than  to  say  that  Raph- 
ael only  followed  his  master.  The  art  of  composition, 
which  is  nothing  in  Perugino,  belongs  to  Raphael.  In  the 
grouping  of  the  Brera  picture  there  is  none  of  the  stability 
of  the  other ;  we  no  longer  see  in  evidence  the  precise 
point  that  forms  the  centre  of  gravity  of  the  whole  mass ; 
but  the  picturesque  equilibrium  is  definitely  established; 
the  air  circulates  more  freely  among  the  people  who  are 
more  closely  assembled.  The  drawing,  the  movement  of 
every  figure,  the  arrangement  of  the  draperies,  the  ex- 
pression of  the  heads — all  differ  entirely.  Without  any 
loss  of  sincerity,  every  figure  reveals  a  science  unknown  to 
Perugino.  If  the  contours  are  finer,  the  colour  also  is 
more  suave  and  learned,  and  in  this  respect  also  it  eclipses 
Perugino's  work." — (F.  A.  G.) 

The  famous  Pieta,  by  Giovanni  Bellini,  is  an 
extraordinary  conception.     The  dead  Christ  is  ap- 
355 


356  THE   BRERA 

parently  standing,  supported  by  the  Virgin  and  St. 
John,  whose  faces  grief  renders  repulsively  ugly. 
The  three  figures  are  life-size,  but  visible  only  to 
the  waist.  There  is  a  landscape  background  of  con- 
ventional treatment. 

A  whole  collection  of  frescoes  by  Luini  has  been 
removed  from  various  chapels  into  this  gallery. 

"  In  quiet  devotional  pictures  of  this  kind,  where  the 
subjects  protected  him  from  unsymmetrical  arrangement, 
his  loveliness  is  enchanting.  The  remaining  frescoes  here 
appear  to  be  pretty  early ;  for  instance,  in  the  somewhat 
timid  mythological  and  genre  subjects,  the  naivete  of 
which  quite  indicates  the  coming  glow  of  the  golden 
time ;  and  also  the  pictures  from  the  life  of  the  Virgin 
and  the  well-known  simple  and  beautiful  composition  of 
the  Angels  Carrying  the  Body  of  St.  Catherine." — (J.  B.) 

St.  Catherine  Carried  away  by  Angels  is  the 

finest  of  Luini's  frescoes. 

"  Its  grace  is  inimitable,  because  it  is  not  in  the  least 
laboured,  and  it  seems  to  have  been  found  in  one  of  those 
divine  dreams  that  traverse  the  souls  of  poets.  Luini  has 
represented  the  saint  asleep  rather  than  dead.  One  might 
say  that  she  had  fainted  in  an  ecstasy  and  would  awake 
in  the  delights  of  Paradise.  Three  angels  respectfully 
bear  in  flight  the  delicate  and  immaculate  body  that  is 
weighted  by  no  venial  sin  and  that  exhales  the  odour  of 
sanctity.  There  is  something  of  Raphael  in  Luini." — 
(C.  B.) 

The  Brera  is  particularly  rich  in  works  by 
Crivelli.  A  Crucifixion,  a  splendid  Coronation 
of  the  Virgin,  a  Virgin  and  Child  with  Four 
Saints,  and  a  Virgin  and  Child  are  of  the  first 
rank  among  his  works.  In  the  Crucifixion,  the 
landscape  is  most  charming;  the  Coronation  ex- 
hibits Crivelli's  most  advanced  style  regarding  the 
unity  of  composition,  wealth  of  detail,  and  a  sky 


MARRIAGE  OF  THE  VIRGIN— Raphael 
THE  BRERA 


MADOXXA  OF  THE  ROSE  HEDGE— Limit' 

THE  BRERA 


MILAN  357 

instead  of  his  usual  gold  background;  the  Ma- 
donna and  Saints  is  painted  in  the  form  of  a 
triptych  (all  three  subjects  being  painted  on  a 
single  panel),  the  Virgin  and  Child  on  a  marble 
throne,  occupying  the  centre,  St.  Peter  and  St. 
Dominic  on  the  left,  and  St.  Geminianus  and  St. 
Peter  Martyr  on  the  right;  and  the  Virgin  and 
Child  (No.  193)  is  a  late  work.  The  Virgin's 
gold  and  blue  brocade  mantle  falling  in  rich  folds 
is  superbly  painted.  Note  the  vase  of  lilies  and 
roses  on  the  lowest  step  of  the  throne,  the  small 
votive  taper  on  the  left,  and,  above  all,  the  won- 
derful treatment  of  the  flowers  and  fruit.  The 
Virgin  is  queenly  and  human. 

"  It  is  one  of  the  finest  of  the  whole  group,  and  as  a 
work  of  art  forms  a  worthy  conclusion  to  Crivelli's  career 
as  a  painter.  The  Virgin  is  a  grand  and  statuesque  figure. 
Nothing  could  be  finer  than  the  pose  and  magnificent 
drapery  of  this  figure.  The  Child  is  less  successful.  The 
canopy  of  the  throne  is  formed  by  arches  of  fruit  and 
foliage,  full  and  rich  in  design.  As  a  whole,  nothing  more 
satisfactory  was  ever  produced  by  Crivelli." — (G.  McN. 

R-) 

Mantegna  has  two  remarkable  works  here,  his 
most  salient  characteristics  being  exhibited  in  the 
Dead  Christ. 

"It  is  a  picture  in  which  his  grandest  style  is  im- 
pressed, foreshortened  with  disagreeable  boldness,  but 
with  surprising  truth,  studied  from  nature,  and  imitating 
light,  shade  and  reflection  with  a  carefulness  and  perse- 
verance only  equalled  by  Leonardo  and  Diirer;  displaying 
at  the  same  time  an  excess  of  tragic  realism,  and  a  pain- 
ful unattractiveness  in  the  faces  of  the  Maries." — (C. 
and  C.) 

One  of  the  gems  of  the  gallery  is  a  great  altar- 
piece  in  twelve  compartments  by  this  master.  The 


358  THE   BRERA 

niches  are  filled  with  saints,  Christ  and  the  Virgin, 
painted  on  a  gold  ground.  Some  of  the  costumes 
are  painted  with  exquisite  delicacy  and  sense  of 
colour. 

Gentile  Bellini's  St.  Mark  Preaching  at  Alex- 
andria is  in  a  setting  of  Moorish  architecture,  and 
the  turbans  and  Oriental  costumes  of  many  of  the 
spectators  remind  us  of  the  artist's  residence  in 
Constantinople  and  his  studies  there.  The  indi- 
vidual character  of  some  of  the  heads  shows  that 
they  are  portraits.  The  picture  is  one  of  rare 
artistic  merit. 

"  The  composition  is  fine,  the  figures  have  the  individ- 
uality which  he  imparted,  and  the  whole  scene  is  full  of 
stern  and  solid  power." — (C.  and  C.) 

The  Madonna  of  the  Rose  Hedge  is  one  of 
the  most  beautiful  of  Luini's  works,  in  which  the 
Virgin  is  seated  in  front  of  a  trellis-work  and 
roses.  The  Child  is  about  to  pluck  Luini's  fa- 
vourite flower,  the  columbine,  growing  in  "a  vase  by 
His  side. 

Lorenzo  Lotto  has  a  Pieta  and  three  fine  por- 
traits. 

"  The  best  is  an  old  man  in  a  black  dress.  The  female 
may  be  noted  for  the  beauty  of  the  costume  rather  than 
that  of  the  wearer." — (C.  L.  E.) 

Other  critics,  however,  think  that  the  lady's 

"  fine  chiselled  features,  extremely  pure  in  drawing,  charm 
by  their  mild  expression.  A  delicate  but  healthy  complex- 
ion is  displayed  in  warm  sweet  tones  of  extraordinary 
transparence ;  and  masterly  transitions  lead  the  eye  from 
opal  lights  into  rich  and  coloured  shadows." — (C.  and  C.) 

Titian's  St.  Jerome 
"  is,  pictorially,  a  lofty  poetical  work,  energetic  in  form, 


MILAN  359 

beautiful  in  lines,  a  pleasant  ensemble  of  the  nude,  the 
red  drapery,  the  linen,  with  the  steep  hollow  way  as 
background ;  only  the  expression  of  the  inspired  ascetic  is 
not  sufficiently  inward." — (J.  B.) 

His  Count  Porica  is  considered  one  of  the  finest 
portraits  in  the  gallery. 

Tintoret's  Finding  of  the  Body  of  St.  Mark 
is  a  typical  impressionist  picture  of  consummate 
power  that  can  hardly  fail  to  strike  the  most  casual 
observer. 

"It  is  low  in  tone,  but  with  wonderful  colour;  the  up- 
per part  is  cool  with  fine  blue  greys,  while  the  lower  part 
is  of  a  rich  golden  brown.  A  startling  note  of  colour  is 
introduced  by  the  figure  on  the  left,  which  is  clad  in  robes 
of  blue  and  a  high-toned  red  much  cooled.  The  delicate 
variety  of  colour  in  the  golden  browns  of  the  female  fig- 
ure on  the  right  is  a  characteristic  piece  of  the  master's 
best  work."— (J.  B.  S.  H.) 

Domenichino's  Madonna  with  Saints  is  justly 
celebrated. 

"  With  his  great  sense  of  beauty,  he  can  not  throw  off 
the  commonness  of  the  Bolognese  forms.  In  his  angels, 
he  follows  Correggio  very  obviously,  as  is  seen  in  the  large 
picture  at  the  Brera." — (J.  B.) 

Leonardo's  pupil,  Beltraffio,  is  represented  by  a 
single  work;  and  that,  though  exceedingly  fine,  is 
of  contested  attribution. 

"  It  is  a  semi-nude  figure  of  St.  John  the  Baptist,  with 
a  dark  grey  mantle  thrown  carelessly  over  his  loins  and 
shoulders.  The  limbs  are  well  drawn  and  modelled;  the 
colour  subdued  and  mellow,  and  the  shadows  soft  and 
diffused,  especially  on  the  features." — (C.  L.  E.) 

A  striking  work  by  Ercole  de  Roberti  is  a  Ma- 
donna Enthroned,  attended  by  two  male  and  two 
female  saints. 


360  THE   BRERA 

What  is  generally  regarded  as  Bartolommeo 
Montagna's  masterpiece  is  the  Virgin  and  Child 
Enthroned.  She  is  supported  by  SS.  Andrew, 
Monica,  Sigismund,  and  Ursula.  Three  charming 
angel  figures  are  playing  stringed  instruments  on 
the  steps  of  the  throne.  The  faces  are  unusually 
expressive. 

Cima  da  Conegliano  has  six  works,  none  of 
which  is  more  characteristic  of  the  master,  or  re- 
fined in  taste  and  execution,  than  St.  Peter  En- 
throned. 

"  In  an  open  loggia  enriched  with  details  of  cinque  cento 
architecture,  St.  Peter,  in  Papal  vesture  and  tiara,  sits  en- 
throned in  the  act  of  benediction.  On  either  side  stand 
St.  John  the  Baptist  and  St.  Paul.  At  the  base  of  the 
throne  sits  a  youthful  angel  playing  on  a  lute.  These 
figures  are  designed  with  great  dignity  and  devotional 
feeling.  The  composition  is  well  balanced  without  ob- 
trusive formality,  and  the  whole  work  may  be  considered 
one  of  the  gems  of  the  collection." — (C.  L.  E.) 

Two  other  altar-pieces  by  Cima  that  are  par- 
ticularly admired  are  Madonna  Enthroned,  ac- 
companied by  the  Saints  John  the  Baptist,  Sebas- 
tian, Roche  and  Magdalen ;  and  St.  Peter 
Martyr,  with  St.  Nicholas  of  Bari  and  St.  Augus- 
tine on  either  side. 

"  In  the  distance  is  a  carefully-painted  landscape,  repre- 
senting the  side  of  a  lake  skirted  by  a  road,  with  moun- 
tains beyond.  There  is  little  or  no  positive  colour  in  the 
composition,  with  the  exception  of  the  blue  dress  of  the  in- 
fant angel  at  the  foot  of  the  pedestal." — (C.  L.  E.) 

Bonafazio's  Finding  of  Moses  is  a  rich  and 
beautiful  composition,  full  of  anachronisms  allow- 
able in  a  work  in  which  the  poetry  of  form  and 
colour  is  realised  with  such  surpassing  excellence. 


MILAN  361 

Pharaoh's  daughter  is  a  sumptuous  Venetian  lady 
surrounded  by  elegant  courtiers  of  both  sexes. 
They  are  strolling  in  a  lovely  Italian  landscape. 

"  Warm  tints  predominate,  but  a  detailed  examination 
of  the  costumes  will  show  how  ingeniously  the  orange  and 
russet  browns  and  toned  crimson  stuffs  are  opposed  to 
dark  blue,  dark  green,  and  black  velvets.  The  faces  of 
the  figures  are  nearly  all  in  broad  light,  and  are  full  of  ex- 
pression. In  action  all  the  figures  are  graceful  and  inter- 
esting, save  one,  an  old  man." — (C.  L.  E.) 

Gerolamo  Savoldo's  large  Madonna  on  clouds 
is  one  of  his  best  works.  Veronese  is  also  well 
represented  in  this  gallery. 

"  In  his  Holy  Conversations,  Veronese  follows  the  ar- 
rangement of  the  later  works  of  Titian;  the  Saints  are, 
for  instance,  freely  grouped  around  the  pedestal  on  which 
the  Madonna  is  seated.  The  most  beautiful  of  these  pic- 
tures, St.  Cornelius,  St.  Anthony  the  Abbot,  and  St.  Cy- 
prian, along  with  a  priest  and  a  page,  is  here." — (J.  B.) 

Great  pictures  of  the  Dutch  and  Flemish  Schools 
are  almost  entirely  wanting.  The  Brera  possesses 
a  female  half-length  portrait  in  the  well-known 
early  manner  of  Rembrandt,  signed  with  his  name 
and  the  year  1632.  Van  Dyck  has  an  excellent 
three-quarter  length  of  a  blonde  young  English- 
woman. 


THE   ACADEMY 
FLORENCE 

THE  Accademia  di  Belle  Arti,  housed  in  what  was 
originally  St.  Matthew's  Hospital,  in  the  Via  Ri- 
casoli,  contains  a  remarkable  collection  of  Italian 
paintings  from  the  Fourteenth  to  the  Sixteenth 
Centuries.  Characteristic  works  of  the  Tuscan 
and  Umbrian  Schools  are  here  exhibited.  Cima- 
bue's  Madonna  Enthroned  with  eight  angels  is 
one  of  the  oldest  pictures  extant.  Giotto's  Ma- 
donna Enthroned  shows  an  anvance  in  form  and 
expression,  particularly  in  the  heads  of  the  angels. 
The  gradual  development  of  the  Madonna  from  the 
conventional  Byzantine  type  to  the  human  woman 
as  portrayed  by  Gaddi,  Fra  Angelico,  Ghirlandaio, 
Fra  Filippo  Lippi,  Botticelli,  Perugino,  Signorelli 
L.  de  Credi  and  Andrea  del  Sarto,  may  be  traced 
in  splendid  examples  by  these  masters. 

The  most  popular  picture  is  Botticelli's  Spring, 
a  fanciful  work  suggested  by  a  passage  from  Lu- 
cretius, and  painted  for  Cosimo  de'  Medici's  villa 
at  Castello,  at  the  same  time  as  the  Venus  in  the 
Uffizi  (see  p.  400).  It  is  supposed  that  the  cen- 
tral figure  is  a  portrait  of  one  of  the  Medici,  and 
that  the  other  figures  are  allegorical  of  the  vir- 
tues attributed  to  her  or  to  her  family. 

"  What  Botticelli  was,  Spring  will  tell  us ;  and  this 
work  is  so  significant,  its  essence  expresses  the  thought 
of  the  master  so  clearly,  that  it  has'  preserved  all  its  charm 
for  us,  although  its  particular  meaning  is  not  known  to 
us.  We  call  it  Spring,  but  if  one  of  the  figures  in  the  pic- 

362 


FLORENCE  363 

ture  really  represents  Spring,  it  is  only  an  accessory  fig- 
ure ;  and,  moreover,  this  name  given  to  the  picture  is  en- 
tirely modern.  Vasari  says  that  it  represents  Venus  sur- 
rounded by  the  Graces,  but  if  we  find  the  three  Graces 
in  the  picture,  it  is  not  likely  that  the  principal  figure 
represents  Venus.  In  my  opinion,  it  is  that  principal  fig- 
ure that  is  the  key  to  the  picture ;  it  is  for  this  figure  that 
everything  has  been  done  and  this  it  is,  above  all,  that  we 
must  interrogate  if  we  wish  to  know  Botticelli's  meaning. 
Evidently  it  is  neither  Venus,  nor  Spring;  and  the  pre- 
cision of  the  features,  and  the  fidelity  of  the  smallest  de- 
tails of  the  costume  make  us  believe  that  we  are  in  the 
presence  of  a  veritable  portrait.  .  .  .  Around  her, 
Nature  adorns  herself  with  flowers ;  Spring  and  the 
Graces  surround  her  like  a  train  of  Fays.  Here  is  one  of 
the  familiar  poetical  forms  of  the  Fifteenth  Century; 
and,  doubtless,  by  attentively  reading  the  Florentine  poets, 
we  should  discover  the  meaning  of  all  the  allegorical  fig- 
ures that  Botticelli  has  united  in  his  work  and  which  we 
do  not  understand.1 

"  But  whatever  may  be  the  particular  meaning  of  each 
of  these  figures  it  is  certain  that  here  we  have  to  do 
with  love  and  beauty,  and  that  perhaps  in  no  other  work 
may  we  find  the  charm  of  woman  described  in  more  pas- 
sionate accents. 

"  Look  at  these  young  maidens  of  Botticelli's.  What  a 
heavenly  vision !  Did  Alfred  de  Musset  know  these  veiled 
forms  that  seem  to  float  over  the  meadow  and  did  he 
think  of  them  in  the  sleeplessness  of  his  nights  in  May? 
Did  he  think  of  that  young  girl  whose  arm  rises  supple  as 
the  stem  of  a  flower,  of  that  young  Grace  so  charming  in 
the  frame  of  her  fair  hair  confined  by  strings  of  pearls, 
or,  indeed,  of  that  Primavera,  who  advances  so  imper- 
iously beautiful,  in  her  long  robe  of  brocade,  scattering 
handfuls  of  flowers  that  she  makes  blossom,  or  of  that 

1  See  notably  the  Stanse  of  Politian,  where  one  will  find 
nearly  all  the  details  of  Botticelli's  picture;  the  shady 
grove,  the  flowery  meadow,  even  the  attitudes  and  the 
garments  of  the  personages.  Is  it  not  a  figure  of  Botti- 
celli's which  is  thus  described : — 

"  She  is  white  and  white  is  her  robe, 
All  painted  with  flowers,  roses,  and  blades  of  grass." 


364  THE   ACADEMY 

young  mother  more  charming  stiU  in  her  modest  grace, 
with  her  beautiful  eyes  full  of  infinite  tenderness?  And 
around  this  scene  what  a  beautiful  frame  of  verdure  and 
flowers !  Nature  has  donned  her  richest  festal  robes ;  the 
inanimate  things,  like  the  human  beings,  all  speak  of  love 
and  happiness,  and  tell  us  that  the  master  of  this  world 
is  that  little  child  with  bandaged  eyes,  who  amuses  him- 
self by  shooting  his  arrows  of  fire. 

"  To  say  a  word  about  the  technique  of  this  work,  we 
should  remark  that  Botticelli  always  painted  in  fresco  or 
distemper,  and  that  he  did  not  seek  the  supple  modelling 
that  painting  in  oil  affords ;  and,  on  the  other  hand, 
he  submitted  profoundly  to  the  influence  of  Pollaiuolo; 
he  observed  Nature  with  the  eyes  of  a  goldsmith ;  and  he 
painted  his  works  as  if,  working  a  niello  or  enamel,  he 
had.  to  set  each  figure  in  gold-wire. 

"  Finally,  is  it  necessary  to  speak  of  the  date  of  the 
Primavera?  Most  historians,  relying  upon  Vasari,  place 
nearly  all  of  Botticelli's  works  before  his  trip  to  Rome  in 
1481.  I  think,  on  the  contrary,  that  the  great  productive 
period  of  Botticelli  belongs  to  the  ten  last  years  of  the 
century  and  that  the  Primavera  should  be  classed  in  this 
period.  The  Primavera  represents,  with  The  Birth  of 
Venus  and  The  Adoration  of  the  Magi,  the  culminating 
point  of  Botticelli's  art." — (M.  Rey.) 

The  Madonna  with  Two  Seraphs,  between 
Barnabas,  Michael,  John  the  Evangelist,  Ambrose 
and  Catherine  of  Alexandria,  is  also  a  remarkable 
work. 

"  The  Madonna  appears  enthroned  in  a  very  rich  and 
imposing  architectural  scene,  between  six  saints  standing 
in  the  foreground,  and  two  cherubim  by  her  side,  pro- 
vided with  instruments  of  martyrdom,  the  whole  revealed 
to  us  by  two  other  angels  drawing  aside  the  heavy  and 
massive  curtains  before  the  heavenly  throne.  This  beau- 
tiful work  is  distinguished  by  a  severe  symmetry  of  com- 
position."—  (K.  W,) 

The  Coronation  of  the  Virgin  is  greatly  ad- 
mired. 

"  By    its    oblong    arched    shape     it    contrasts    with    the 


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FLIGHT   INTO  EGYPT— Fra   Angelica 

FLORENCE    ACADEMY 


FLORENCE  365 

broader  pieces  of  Fra  Filippo  dealing  with  the  same  sub- 
ject. Here  again  the  scene  is  laid  in  the  open,  unconfined 
celestial  regions.  God  the  Father,  in  papal  robes,  reminds 
us  of  the  corresponding  figure  of  Fra  Filippo's  work;  but 
the  Madonna,  as  she  kneels  with  crossed  hands,  in  the 
deepest  and  most  earnest  lowliness  before  the  Highest,  is 
a  genuine  Botticelli  figure.  Very  characteristic  also  are 
his  angels  strewing  roses  in  the  heavens  round  about  the 
hallowed  scene,  and  dancing  in  rows,  with  rich  and  flowing 
draperies,  though  somewhat  mannered  in  their  foldings. 
In  an  open,  simple  landscape  beneath  are  fond  noble-look- 
ing saints  with  expressive  heads,  and  robes  grandly 
handled."— (K.  W.) 

It  is  interesting  to  compare  this  with  Fra  Filippo 
Lippi's  Coronation  of  the  Virgin,  one  of  his 
masterpieces. 

"  The  picture,  broader  than  high,  is  enclosed  above  by 
three  curved  lines,  in  the  centre  and  highest  of  which 
God  the  Father  is  enthroned  in  papal  robes  placing  the 
crown  on  the  Virgin  kneeling  on  the  step  before  him  and 
arrayed  as  a  bride.  All  the  rest  of  the  space  is  filled  by 
hosts  of  saints  and  angels.  The  corner  to  the  front,  on 
the  right  of  the  observer,  is  occupied  by  John  the  Baptist, 
that  on  the  left  by  the  bishop  St.  Ambrose.  An  excep- 
tionally fine  group  of  saints  is  disposed  right  in  front,  and 
beneath  the  throne  of  the  Most  High,  in  the  centre  fore- 
ground, the  space  occupied  by  them  being  screened  off  by 
rails  of  an  architectural  description.  Amongst  these  fig- 
ures especially  remarkable  is  a  beautiful  and  most  life- 
like female  kneeling  to  the  right  and  gazing  on  the  spec- 
tator with  an  expression  of  indescribable  grace,  childish 
guilelessness,  and,  at  the  same  time,  a  deep  and  thought- 
ful look,  which  seems  almost  to  question  you.  Before  her 
kneel  two  children,  evidently  belonging  to  her.  Behind 
her,  at  the  feet  of  John  the  Baptist,  kneels  a  Carmelite 
friar,  with  folded  hands,  gazing  on  her  with  an  expression 
of  passionate  fervour.  That  this  Carmelite  brother  is  no 
other  than  the  artist  Fra  Filippo  himself  he  has  evidently 
wished  to  leave  us  in  no  doubt,  for  an  angel,  somewhat 
lower  down  in  front  of  him,  bears  a  scroll  waving  towards 
him  and  containing  the  Latin  words,  'Is  perfecit  opus,' 


366  THE   ACADEMY 

that  is  '  he  did  this  work.'  And  it  may  be  taken  for 
granted  that  the  woman  with  the  children,  on  whom  he 
gazes  almost  worshippingly,  must  have  stood  on  close 
terms  of  intimacy  with  him. 

"  The  two  side  semicircular  compartments  are  entirely 
filled  with  angels,  who,  with  their  long  robes,  stand  as 
firmly  on  their  feet  as  the  other  figures  below  them. 
Chaplets  of  roses  and  other  flowers  encircle  their  golden 
hair,  whilst  in  their  hands  they  bear  long-stemmed  lilies 
and  their  charming  youthful  features  express,  some  of 
their  feelings  of  devotion,  others  of  unconsciousness  of 
self,  and  others,  again,  of  gladsome  serenity.  The  treat- 
ment of  the  outline  in  the  details,  as  in  the  hands  and 
heads,  as  well  as  in  the  drapery  itself,  displays  great  care 
and  consummate  skill.  Every  line  is  characteristic,  but  at 
the  same  time,  rightly  conceived  and  carried  out  with 
perfect  command  of  the  materials.  The  painting  is,  in 
every  respect,  a  standard  work  for  Filippo's  fully-devel- 
oped style,  and  one  of  the  most  characteristic  and  inter- 
esting of  the  whole  Florentine  School  of  the  Fifteenth 
Century."—  (K.  W.) 

The  Madonna  Enthroned,  by  Ghirlandaio,  is 
one  of  his  early  works,  more  mature  than  the  work 
of  the  same  subject  in  the  Uffizi.  The  Madonna 
is  seated  in  a  niche  with  the  Child  on  her  knee. 
On  either  side  of  her  throne  stands  an  angel  hold- 
ing a  vase  in  which  a  tall  lily  is  placed  with  flowers 
and  buds  blossoming,  at  the  top  of  the  stalk.  The 
steps  of  the  throne  are  carpeted;  and  at  the  left 
and  right  stand  St.  Thomas  Aquinas  as  a  Domin- 
ican, with  open  book,  and  St.  Dionysius,  while  at 
the  foot  of  the  throne  kneel  St.  Dominic  and  St. 
Clement. 

Of  great  beauty  is  his  Adoration  of  the  Shep- 
herds. 

"  The  Virgin  in  a  dark  blue  robe,  whose  border, 
wrought  with  a  gold  pattern  to  delight  the  heart  of  a 
goldsmith,  spreads  around  her  in  a  circle,  kneels  with  her 


FLORENCE  367 

hands  folded  and  looks  down  at  the  Babe,  who,  thumb  in 
mouth  and  curling  himself  together,  with  his  leg  kicking, 
is  showing  delight  after  the  manner  of  babies.  The  face 
of  the  Virgin  is  very  beautiful.  This  is  not  the  stately 
Madonna,  the  grave  majestic  queen  of  heaven,  as  in  his 
Madonnas  enthroned.  Here  she  has  stepped  from  her 
throne — she  is  the  human  Madonna — in  simple  dress  with 
no  ornament — any  mother  with  any  child — a  beautiful, 
pure  being,  but  such  as  one  may  have  seen  and  has  seen 
in  life.  The  shepherds  are  characteristic  portraits." — (G. 
S.  D.) 

In  Gentile  da  Fabriano's  Adoration  of  the 
Magi,  we  find  the  faithful  representation  of  con- 
temporary scenes. 

"  The  Virgin,  completely  enveloped  in  a  large  blue 
cloak,  is  seated  in  front  of  the  stable,  with  her  head 
piously  inclined  towards  her  Son,  whom  she  is  regarding 
with  tender  gaze.  St.  Joseph  is  at  her  side  and  behind 
her  are  two  young  women  who  are  holding  and  admiring 
the  gifts  offered  to  the  Saviour.  The  Infant  Jesus  has 
laid  his  hand  on  the  head  of  the  oldest  of  the  Magi,  who, 
prostrated,  kisses  'his  feet  with  devotion.  The  two  other 
Kings  are  much  younger  than  the  first  one.  They  are 
presenting  their  offerings  to  the  Son  of  God,  and  are 
about  to  lay  their  crowns  before  him.  Then  follows  the 
retinue  of  these  Magi ;  and  in  this  throng,  where  may  be 
counted  at  least  seventy  figures  on  foot  and  on  horse- 
back, of  all  ranks,  of  all  ages,  and  of  all  sizes,  it  is  easy 
to  recognize  a  trace  of  those  popular  festivals  instituted 
in  the  preceding  century.  Despite  some  slight  Oriental 
disguises,  one  may  easily  recognize  the  bearing,  the  gen- 
eral features,  and  the  costumes  of  the  Italy  of  the  first 
years  of  the  Fifteenth  Century.  Gentile  was  also  pleased 
to  add  to  the  '  superb  chargers '  mentioned  by  Lattuda, 
all  kinds  of  animals,  especially  the  apes  that  the  Milanese 
loved  to  include  in  their  pompous  processions.  Finally, 
in  the  background  of  this  picture  he  has  painted  the  em- 
battled walls  of  a  Guelph  city  with  two  massive  gates ;  the 
one  through  which  the  Magi  have  entered,  the  other 
through  which  they  will  take  their  departure.  Is  there 
anything  here,  either  in  the  foreground  or  the  background, 


368  THE   ACADEMY 

that  suggests  Jerusalem?  Do  you  not  notice  rather  a  re- 
semblance to  the  fortifications  of  Milan,  with  the  Porta 
Romana  and  the  Porta  San  Lorenzo?" — (F.  A.  G.) 

Fra  Angelico  can  be  studied  to  great  advantage 
here.  His  scenes  from  the  Life  of  Christ, 
though  greatly  injured,  show  some  of  his  most 
charming  work,  particularly  the  Flight  into 
Egypt,  and  the  Visit  of  the  Magi,  in  which  one 
of  his  most  beautiful  and  delicate  Virgins  appears. 

His  Descent  from  the  Cross  is  also  a  master- 
piece. 

"  The  expressions  and  actions  of  the  numerous  figures 
are  the  most  appropriate,  and  therefore  touching,  with 
which  painting  has  invested  this  subject.  The  Gothic- 
Italian  frame  is  richly  studded  with  small  bust  and  full- 
length  figures  of  saints,  among  which  those  of  SS.  Peter 
and  Paul  may  be  instanced." — (A.  H.  L.) 

Another  artist  who  is  splendidly  represented  here 
is  Perugino  with  no  less  than  seven  fine  works. 
First  of  all  should  be  noticed  the  magnificent  As- 
sumption of  the  Virgin,  painted  for  the  monks 
of  Vallombrosa.  The  founder  of  the  monastery, 
San  Giovanni  Gualberto,  stands  with  Cardinal 
Bernardo  degli  Uberti,  St.  Benedict,  and  the 
Archangel  Michael  below  the  mystery  taking 
place  in  the  heavens.  The  Virgin  is  seated  in  a 
mandorla  framed  by  cherubs  with  angels  play- 
ing musical  instruments  at  her  side.  Above  her 
in  a  circle,  also  accompanied  by  angels  and 
cherubs,  the  Eternal  Father  appears. 

"  The  general  scheme  of  the  picture  is  one  which  Pietro 
made  somewhat  hackneyed,  but  there  are  certain  special 
features  that  must  not  be  overlooked.  The  Virgin  is 
seated  in  the  skies  within  a  glowing  radiance  of  pure 
white  light,  and  this  of  itself  is  an  unusual  feature.  Never 


FLORENCE  369 

has  Perugino  painted  the  Madonna  so  finely.  There  is  a 
celestial  beauty  upon  her  face,  and  her  hands  and  robe 
are  depicted  with  the  utmost  skill  and  care.  The  angels 
are  somewhat  loosely  drawn,  insipid  in  countenance,  and 
lacking  in  proportion,  especially  in  their  attenuated  legs, 
and  in  the  large  size  of  their  hands;  but  the  artist's  main 
attention  has  been  given  to  three  points  in  the  picture — 
the  figure  of  the  Virgin,  the  four  figures  on  the  ground, 
and  the  landscape  in  the  rear.  Crowe  and  Cavalcaselle 
speak  of  the  four  attendant  saints  as  '  magnificent  as  iso- 
lated creations,'  and  the  words  are  none  too  strong." — 
(G.  C.  W.) 

Two  of  the  most  remarkable  works  in  the  gal- 
lery are  the  portraits  of  the  Abbot  Baldassare 
and  Don  Biagio  Milanesi — that  Perugino  also 
painted  at  Vallombrosa. 

"  They  are  painted  with  the  lightest  of  touch  and  with 
extraordinarily  little  colour.  The  tone  is  that  of  old  yel- 
low parchment,  and  each  picture  contains  only  the  up- 
turned head  and  a  few  inches  of  the  brown  monastic 
robe ;  but  the  effect  is  perfect.  The  marvellous  feature, 
however,  of  each  portrait  is  its  absolute  truth  and  its 
perfection  of  modelling.  There  is  no  accessory;  there  is 
no  cap,  or  hood,  or  costume;  there  is  only  a  plain  brown 
background :  but  the  effect  is  that  of  living,  breathing  life. 
The  task  was  a  stern  one,  uncompromising  in  its  severity; 
but  it  is  nobly  executed  and  two  delineations  of  character 
are  presented." — (G.  C.  W.) 

Christ    Praying    on    the    Mount    of    Olives 

shows  all  the  characteristics  of  Perugino.  The 
landscape  is  of  great  beauty  and  the  figure  of  the 
sleeping  St.  John  on  the  left  reminds  one  of 
Raphael. 

"  In  the  immediate  foreground  are  the  three  disciples 
sound  asleep  in  the  attitudes  that  convince  you  of  heavy 
slumber.  In  the  centre  of  the  picture  is  our  Lord 
kneeling  on  a  hillock  deeply  engaged  in  prayer,  and  above 


370  THE   ACADEMY 

is  an  angel  flying  towards  him  bearing  the  chalice  of  sor- 
row. Below  and  still  further  removed  from  the  eye  of 
the  spectator  are  groups  of  soldiers  on  the  one  hand  and  of 
priests  and  people  on  the  other  rapidly  moving  towards 
the  central  figure.  Their  proportions  are  finely  adjusted 
to  their  distance  and  position,  and  there  is  an  admirable 
sense  of  movement  in  all.  Beyond  them  are  the  distant 
town,  the  hills,  the  country,  and  above  with  its  depth  and 
arch  and  vastness,  suggested  in  most  subtle  manner  by 
the  light  fleecy  clouds  and  by  the  very  curves  of  the  an- 
gels' figures  and  the  movement  of  his  wing,  rises  the  blue 
vault  of  the  heaven." — (G.  C.  W.) 

The  Pieta  is  a  work  of  the  same  period. 

"  The  dead  Saviour  lies  in  the  lap  of  the  Virgin,  sup- 
ported by  the  head  on  the  shoulders  of  Joseph,  by  the 
feet  on  the  knees  of  the  Magdalen,  whilst  St.  John  the 
Evangelist  looks  up  in  prayer  to  the  left,  and  another 
saint  on  the  right.  In  its  present  condition  one  hardly 
recognizes  the  probable  beauty  of  the  original  colour.  Much 
repainted." — (C.  and  C.) 

The  Virgin  Appearing  to  St.  Bernard  shows 
all  the  qualities  of  Fra  Bartolommeo,  his  lofty  feel- 
ing, imposing  draperies  and  symmetrical  arrange- 
ment. St.  Bernard  kneels  before  his  prie-dieu 
with  St.  Benedict  and  John  the  Evangelist  behind 
him. 

"  Here  the  group  of  angels  round  the  Madonna  is  com- 
posed with  the  usual  severe  symmetry,  but  very  beauti- 
fully placed  in  profile,  or  three-quarter  view,  while  at  the 
same  time  their  floating  is  expressed  with  as  much  light- 
ness as  dignity." — (J.  B.) 

Another  interesting  work  by  Fra  Bartolommeo 
is  Savonarola  as  St.  Peter  Martyr,  which  ex- 
plains the  cut  in  his  head.  The  features  are 
plain,  but  the  expression  is  devout. 

Of    Albertinelli's    works,    The    Trinity    is    the 


FLORENCE  371 

most  celebrated.  It  was  painted  after  he  left  Fra 
Bartolommeo,  but  still  shows  his  influence.  Orig- 
inally the  background  was  gold.  The  picture  is 
notable  for  its  fine  modelling  and  strong  colour. 
"  The  face  of  the  Eternal  is  fine  and  well  preserved. 
Two  angels  at  his  feet  are  pleasing.  The  arrangement  is 
on  Fra  Bartolommeo's  principles ;  the  drapery  broad,  but 
the  colour  is  of  the  same  kind  as  in  the  Annunciation." — 
(C.  and  C.) 

Lorenzo  di  Credi's  Nativity  is  beautifully 
painted,  particularly  the  landscape  in  the  fore- 
ground. The  shepherd  with  the  lamb  in  his  arms 
is  greatly  admired. 

"  In  this  picture  there  is  something  of  the  superfluous 
sentiment  so  prominent  in  the  Peruginesque  School  (see 
the  youth  with  the  lamb),  only  that  one  forgets  this  as 
well  as  the  slightly  artificial  arrangement  of  the  group  in 
the  enchanting  beauty  of  most  of  the  figures." — (J.  B.) 

The  Baptism  of  Christ  is  perhaps  the  only 
authentic  work  extant  by  Andrea  Verrocchio,  the 
master  of  Leonardo  da  Vinci,  who  is  said  to  have 
painted  the  beautiful  angel  on  the  left;  and  it  is 
said  that  when  Verrocchio  saw  this  beautiful  figure 
he  never  touched  colours  again.  John  the  Baptist 
remains  unfinished.  Leonardo's  angel  has  been 
termed  a  ray  of  sunlight  on  a  faded  page. 

"  Verrocchio's  modelling  is  conscientious  and  endeavours 
to  sound  all  the  secrets  of  anatomy  as  well  as  chiaroscuro; 
but  with  all  this  it  is  remarkable  how  lifeless  the  drapery 
still  remains.  The  angel  painted  in  by  Leonardo  shows  a 
sweeter  type  of  head,  which,  indeed,  was  not  unfamiliar  to 
Verrocchio  as  a  worker  in  bronze." — (J.  B.) 


THE    PITTI   PALACE 
FLORENCE 

ALTHOUGH  the  Pitti  contains  about  five  hundred 
works,  their  excellence  is  so  great  that  it  may  be 
considered  a  gallery  of  masterpieces.  Most  of  the 
pictures  belong  to  the  golden  age  of  Tuscan  art, 
from  Botticelli  to  Andrea  del  Sarto ;  but  there  are 
fine  works  of  earlier  masters.  The  collection  was 
made  chiefly  by  the  Medici  family,  who  brought 
the  pictures  scattered  in  their  various  villas  and 
palaces  to  Florence  about  1640,  after  they  had  be- 
come sovereign  princes,  and  placed  them  in  the 
Pitti  Palace,  which  was  then  converted  into  a  royal 
residence.  Vittoria  della  Rovere,  daughter  of  the 
Duke  of  Urbino,  brought  a  fine  collection  on  her 
marriage  to  the  Grand  Duke  Ferdinand  II.,  who 
removed  from  the  Uffizi  to  the  Pitti  many  of  the 
pictures  collected  by  his  father,  Cosimo  II.,  and  ac- 
quired many  others  from  churches  in  Tuscany  and 
by  purchase.  The  collections  of  the  Cardinals  Leo- 
pold and  Giovanni  de'  Medici  came  into  the  Pitti 
at  their  deaths;  and  Francis  I.  also  added  a  num- 
ber of  works.  The  sixty  pictures  carried  off  by 
Napoleon's  army  were  returned. 

The  rooms  in  which  the  pictures  are  hung  are 
beautifully  decorated  with  allegorical  paintings  and 
take  their  name  from  the  subjects  on  the  ceiling, 
viz.,  Sala  di  Venus,  Sala  dell'  Iliade,  Sala  di 
Saturno,  Sala  di  Marte,  etc.,  etc. 

The  Pitti  is  especially  rich  in  works  of  Raphael, 
372 


FLORENCE  373 

Titian  and  Andrea  del  Sarto;  and  contains  many 
portraits  of  great  reputation. 

The  gems  of  the  gallery  are  Raphael's  Madonna 
della  Sedia,  Leo  X.  and  two  Cardinals,  the  Ma- 
donna del  Gran'  Duca,  and  Angelo  Doni  and 
his  wife;  Titian's  La  Bella;  and  Giorgione's 
Concert. 

The  Madonna  della  Sedia,  or  Seggiola,  so 
called  from  the  sedia,  or  chair  in  which  the  Virgin 
is  seated,  is  only  a  little  over  two  feet  in  diameter. 
It  is  the  most  popular  of  all  Raphael's  works.  It 
was  exhibited  in  the  Tribuna  as  early  as  1589. 

"  Seated  in  a  chair  (sedia),  the  Virgin  holds  the  Infant 
Jesus  close  in  her  arms.  They  are  both  looking  at  the 
spectator,  and  are  radiant  with  beauty  against  a  sombre 
background.  Beside  them  appears  St.  John  an  the  ecstasy 
of  prayer  and  contemplation.  Nothing  can  be  simpler, 
nor  at  the  same  time  more  striking.  It  is  only  the  Infant 
in  the  arms  of  his  Mother,  with  another  child  beside  them. 

"  If  La  Fornarina  is  behind  the  Virgin  of  the  Chair, 
there  is  nothing  less  than  a  world  that  separates  them. 
The  two  beauties  are  measured  by  the  two  lives :  terrestrial 
love  put  into  Raphael's  hand  the  brush  that  painted  the 
portrait  of  the  Barberini  palace ;  divine  love  armed  the 
master  with  sufficient  power  to  produce  the  Madonna  of 
the  Pitti  Palace. 

"  The  Virgin  of  the  Chair  raises  us  directly  to  God  by 
the  tenderness  with  which  she  surrounds  and  seems  to 
want  to  protect  Him  who  protects  all;  but  she  is  richly 
adorned,  and  she  seems  to  belong  to  the  world  by  the 
external  splendour  with  which  the  world  surrounds  her. 
She  belongs  to  it  especially  by  the  love  that  she  gives  to 
Him  and  by  the  internal  sentiment  that  stamps  com- 
passion upon  her  beauty ;  compassion  the  kin  to  sadness. 
Her  head  bends  gently  towards  the  Saviour's  head,  on 
which  it  rests.  The  hair,  rather  chestnut  than  blonde,  is 
divided  in  slightly  waved  bands  and  completely  exposes 
the  ear  and  the  cheeks.  The  brow  is  beautifully  propor- 
tioned :  it  is  lower  than  in  the  Umbrian  faces,  and  higher 


374  THE   PITTI   PALACE 

than  in  the  antiques.  The  eyes,  pensive,  brilliant  and  fully 
open,  look  towards  the  left  of  the  spectator  with  a  gravity 
bordering  on  grief.  The  outline  of  this  face  is  a  beautiful 
oval,  and  does  not  in  the  least  recall  the  portrait  of  the 
Barberini  Gallery.  Therefore,  away  with  all  reminiscence 
of  La  Fornarina;  away  with  all  living  reality!  This 
image  is  purely  impersonal.  We  are  in  the  presence  of 
the  Virgin :  it  is  she ;  she  alone  whom  we  see ;  she  alone 
who  is  looking  at  us.  The  external  beauty  of  the  Virgin 
of  the  Chair  is  as  great  as  anything  that  could  be 
imagined,  but  the  internal  beauty  is  not  in  the  least 
sacrificed  to  it.  The  chief  characteristic  of  this  face  is 
its  regularity  and  the  purity  of  its  features.  All  the  lines 
are  simple,  regular,  and  traced  as  though  by  inspiration. 
It  is  true  that  Raphael,  carried  away  by  the  genius  of 
harmony,  has  represented  his  Madonna  as  brilliantly  and 
richly  attired,  but  it  is  without  anything  jarring,  without 
anything  too  staring,  and  without  anything  hurtful  of  the 
principal  impression.  A  scarf,  admirable  in  colour,  is 
wound  around  the  crown  of  her  head  and  falls  down  to 
her  neck.  A  green  shawl,  enriched  with  various  shades 
that  respond  to  those  in  the  scarf,  envelops  the  breast,  the 
right  shoulder,  and  falls  behind  the  back,  where  it  is  con- 
founded with  the  golden  fringe  that  decorates  the  back  of 
the  chair.  Beneath  this  shawl  appears  the  purple  robe, 
the  sleeve  of  which  is  tight-fitting,  with  a  cuff,  and  the 
blue  mantle  that  covers  the  knees.  The  two  hands,  one 
crossed  above  the  other  over  the  body  of  the  Infant 
Jesus,  are  charming  in  shape  and  delightfully  modelled. 
Everything  in  this  arrangement  is  enchanting:  in  the  en- 
tire effect  of  this  image  everything  is  seductive. 

"  Yet,  in  the  Virgin  of  the  Chair,  there  is  something 
still  more  elevated  and  beautiful  than  the  Virgin,  and 
that  is  the  Infant  Jesus.  Seated  on  the  blue  drapery 
that  covers  the  knees  of  the  Mother,  he  looks  fixedly  at 
us,  recoils,  as  if  struck  with  our  miseries ;  and  presses 
close  against  the  virginal  bosom  that  conceived  him.  A 
slight  vestment  covers  his  shoulders  and  breast  and  leaves 
his  legs,  hips  and  arms  bare.  This  infant  body  is  taken 
from  life  and  belongs  wholly  to  humanity;  but  the  head 
is  that  of  a  God.  Three  flames  radiate  from  this  infant 
head  and  mysteriously  gleam  in  the  obscurity  of  the  back- 
ground. The  ruffled  hair  seems  to  obey  an  impulse  that 


- 


MADONNA  DELLA  SEDIA— Raphael 

PITT! 


FLORENCE  375 

springs  from  the  spirit;  the  eyes  shine  brilliantly;  the 
mouth  with  its  severe  lines  is  grave,  and  the  whole 
countenance  is  immobile,  fixed,  majestic,  solemn  and  al- 
most terrible."— (F.  A.  G.) 

The  Madonna  del  Gran'  Duca  belonged  to  the 
Grand  Duke  Ferdinand  III.,  who  carried  it  with 
him  wherever  he  went;  it  therefore  received  the 
sobriquet  of  Madonna  del  Viaggio  (of  the  voy- 
age). This  is  the  first  picture  Raphael  painted 
in  Florence  after  leaving  the  School  of  Perugino. 

"  The  Virgin  is  singularly  modest  and  sweet ;  the  con- 
tour of  her  face  and  the  delicate  form  of  her  mouth,  as 
well  as  the  soft  downcast  eyes,  are  pre-eminently  beau- 
tiful, even  among  Raphael's  Madonnas,  although,  it  is 
neither  as  classical  as  the  Madonna  della  Seggiola  (Pitti) 
nor  as  sublime  as  his  greatest  creation,  the  Madonna  di 
San  Sisto  (Dresden)  ;  but  for  simple  dignity,  loveliness 
and  purity,  this  representation  of  the  Virgin  is  unrivalled. 
Her  hands  are  rather  large.  The  child  is  less  lovely  than 
his  mother,  but  his  flesh  is  beautifully  painted  and 
modelled."— (S.  and  J.  H.) 

The  Holy  Family,  called  Madonna  dell'  Im- 
pannata  (cloth-window),  from  the  window  in  the 
background  which  is  covered  with  a  kind  of  linen 
instead  of  glass,  was  painted  for  Bindo  Altoviti,  a 
young  Florentine  banker.  The  aid  of  Giulio 
Romano  and  others  is  evident.  The  scene  takes 
place  in  a  cottage.  The  Virgin  is  presenting  the 
Child  Jesus  to  Elizabeth,  and  Mary  Magdalen  is 
showing  John  the  Baptist,  who  is  about  eight 
years  old,  to  Jesus. 

"The  incident  is  most  charming:  the  two  women  have 
brought  the  Child  and  hand  it  to  the  mother;  and  while 
the  boy  turns,  still  laughing,  after  them,  he  takes  fast 
hold  of  his  mother's  dress,  who  seems  to  say,  '  Look,  he 
likes  best  to  come  to  me.' " — (J.  B.) 


376  THE   PITTI   PALACE 

Raphael  left  the  Madonna  of  the  Baldaquin 
unfinished. 

"The  Virgin  with  her  Son  in  her  arms  appears  on 
a  throne  surmounted  by  a  conical  baldaquin  to  which  cur- 
tains are  attached.  Two  seraphim,  hovering  in  the  air, 
raise  the  curtains  and  reveal  the  spectacle  that  they  them- 
selves view  with  happiness.  At  the  foot  of  the  throne, 
two  angels,  entirely  nude,  are  holding  a  banderole,  from 
which  they  are  reading  and  singing  the  mysteries  of  God. 
To  the  left  stand  St.  Augustine  and  St.  James  the 
Greater;  to  the  right,  St.  Peter  and  St.  Bruno.  What 
distinguishes  this  picture  from  those  that  precede  it,  is 
the  independence  shown  in  the  grouping  of  the  figures. 
Not  that  the  ancient  symmetry  is  abandoned  or  broken ; 
it  could  never  be  more  rigorously  observed.  The  Ma- 
donna and  Infant  are  still  a  sort  of  mathematical  centre 
whence  start  equal  and  similarly  placed  rays  leading  to 
the  seraphim,  the  angels,  and  the  saints  that  correspond 
two  and  two. 

"  This  last  Florentine  Virgin  has  not  the  imposing 
grandeur  that  the  Roman  Virgins  are  soon  to  assume : 
she  is  more  human,  less  plastic,  more  personal  and  yet 
there  is  nothing  too  individual  in  her.  She  is  happy,  but 
without  earthly  emotion,  or  worldly  exaltation.  No  sad- 
ness, no  trouble,  no  presentiment  of  any  kind  has  left 
the  slightest  trace  upon  her.  The  Mater  speciosa,  whose 
youth  has  not  withered  in  the  least,  has  conquered  perfect 
tranquillity,  and  found  for  all  eternity  the  Divine  Son 
with  whom  she  has  sacrificed  herself  for  the  salvation  of 
the  world.  That  is  the  religious  idea  contained  in  this 
image.  The  Infant  Jesus  also  shows  Himself  under  ex- 
ternals of  natural  and  living  verity;  nevertheless  He  rises 
to  the  ideal,  and  if  He  does  not  impose  Himself  as  God, 
He  makes  Himself  so  loved  as  a  child  that  by  that  love 
alone  He  still  leads  to  God.  Sitting  on  the  left  knee  of 
His  Mother,  He  abandons  Himself  to  the  charm  of  life. 
He  looks  pleasantly  at  the  saints,  smiles  on  them,  and 
gives  Himself  familiarly  to  them.  His  hair  is  blond  and 
thin ;  eyes  brilliant ;  and  mouth  amiable  in  expression. 
Let  us  not  forget  that  here  we  have  only  a  sketch ;  that 
Raphael  would  certainly  have  added  something  to  this 
Infant;  and  that  nowhere  in  this  picture  has  he  put  the 
finishing  touch." — (F.  A.  G.) 


FLORENCE  377 

The  Vision  of  Ezekiel  is  only  eighteen  inches 
high  and  thirteen  inches  wide,  yet  is  one  of  Raph- 
ael's noblest  compositions,  and  of  very  delicate 
execution.  On  the  left  Ezekiel  may  be  discovered 
in  the  landscape,  looking  up  at  the  sublime  appari- 
tion of  the  Eternal  Father. 

"  This  picture  is  supposed  to  have  been  executed  by 
Raphael  as  early  as  1510;  but,  to  judge  from  its  affinity 
with  the  earlier  pictures  of  the  Loggia,  it  must  have  been 
produced  in  1513.  It  contains  the  First  Person  of  the 
Trinity,  in  a  glory  of  brightly-illuminated  cherubs'  heads, 
his  outstretched  arms  supported  by  two  genii,  and  resting 
on  the  mystical  forms  of  the  ox,  eagle  and  lion ;  the 
angel  is  introduced  adoring  beside  them.  Dignity,  majesty 
and  sublimity  are  here  blended  with  inexpressible  beauty : 
the  contrast  between  the  figure  of  the  Almighty  and  the 
two  youthful  genii  is  admirably  portrayed,  and  the  whole 
composition  so  clearly  developed,  that  it  is  undoubtedly 
one  of  the  master  works  of  the  artist.  Michael  Angelo, 
who  had  also  given  a  type  of  the  Almighty,  represents 
Him  borne  upon  the  storm;  Raphael  represents  Him  as 
if  irradiated  by  the  splendour  of  the  sun ; — here  both 
masters  are  supremely  great,  similar,  yet  different,  and 
neither  greater  than  the  other." — (K.) 

One  of  the  gems  is  Leo  X.,  with  his  cousin, 
Cardinal  Giulio  de  Medici  (afterwards  Clement 
VIII.),  on  the  left,  and  Cardinal  Luigi  de'  Rossi 
(probably  by  Giulio  Romano),  the  Pope's  secre- 
tary, on  the  right,  leaning  against  the  Pope's 
chair.  Wonderfully  painted  are  the  missal  that 
lies  on  the  table  before  the  Pope,  the  silver  bell,  and 
the  large  glass  that  he  used  for  his  bad  eyesight. 

"  As  a  portrait,  it  holds  the  same  rank  among  Raphael's 
artistic  productions  as  the  Sistine  Madonna,  in  the  order 
of  his  sacred  compositions.  It  is  the  best  thing  of  its  kind 
that  Raphael  did— truth  itself,  if  compared  with  naturey- 
yet  not  realistic  in  the  sense  of  faithful  rendering,  as  in 
Van  Eyck,  Antonello,  or  Holbein,  though  combined  with 


378  THE  ~PITTI   PALACE 

a  realism  that  none  have  ever  surpassed.  The  chief  sitter 
was  a  Pontiff,  whose  features  were  all  singular,  from  the 
projecting,  near-sighted,  blood-shot  eye,  to  the  bloated 
nose  and  cheek  and  chin,  lips  beyond  the  common  size, 
and  a  girth  portentous  in  a  churchman.  And  yet  all 
these  features  combined  make  up  something  noble  and 
expressive  of  life  and  power.  They  show  a  man  with  a 
penetrating  spirit,  good-natured  but  irascible,  smooth  but 
possibly  cruel.  We  must  recollect  that  Leo  X.  sat  to 
Raphac'.  in  1518,  after  the  execution  of  Cardinal  Petrucci, 
who  had  conspired  against  his  life." — (C.  and  C.) 

A  masterpiece  of  painting  as  well  as  a  superb 
character  study  is  the  Portrait  of  Cardinal 
Bibiena,  a  great  friend  of  Raphael's,  who  even 
offered  him  his  niece  in  marriage. 

"  Bibiena  is  represented  in  a  chair,  wearing  a  surplice 
and  barret  and  a  watered  cape  of  purple  silk.  The  nose 
is  long  and  tending  to  aquiline,  yet  fleshy  where  it  over- 
hangs a  large  mouth  capable  of  voluble  speech  and  mobil- 
ity. The  seat  of  power  is  in  the  face,  in  the  wide  fore- 
head free  from  hair.  The  grey-blue  eyes  are  free  and 
open,  yet  suggestive  of  cunning.  The  head  alone  seems 
worthy  of  Raphael." — (C.  and  C.) 

A  still  greater  work  is  the  Portrait  of  Tom- 
maso  Phaedra  Inghirami,  humanist  and  Papal 
secretary,  a  protege  of  the  Medici  family.  Raph- 
ael has  represented  him  in  the  red  robe  he  wore 
at  the  conclave  of  1513  that  elected  Giovanni  de' 
Medici  Pope  Leo  X. 

"  Phaedra  was  obese  by  nature  and  bloated  by  sedentary 
habits.  His  shape  is  round,  his  ringed  hand  puffy  and 
swollen.  But  his  right  eye  is  disfigured  by  a  cast,  which 
drags  the  pupil  upwards,  and  Raphael  gave  the  squint  a 
curious  realism.  The  very  functions  of  the  secretary 
and  sermon  writer  are  suggested  by  the  prelate's  sur- 
roundings. He  looks  up  as  if  meditating  the  words  he 
is  about  to  write.  The  portrait  is  executed  with  mar- 
vellous truth  and  delicacy,  and  in  spite  of  the  ravages 


FLORENCE  379 

of  restoring,  the  broad  and  skilful  treatment  of  the  roll- 
ing flesh  and  the  humour  in  the  whites  of  the  eyes,  the 
expression  are  still  admirable.  The  finish  is  as  minute 
as  Holbein's,  the  outline  as  conscientious  as  Van  Eyck's, 
and  the  rounding  perfect  in  its  accuracy." — (C.  and  C.) 

The  portrait  of  Pope  Julius  II.  is  supposed  to 
be  a  copy  of  the  original  in  the  Uffizi  (see  p.  393). 

Agnolo  and  Maddalena  Doni  are  ranked  among 
the  triumphs  of  great  portraiture. 

"  Agnolo  Doni,  one  of  the  most  discerning  and  at  the 
same  time  one  of  the  most  niggardly  lovers  of  pictures 
in  Florence,  whose  palace  was  a  museum  of  antique  and 
contemporary  art,  had  lately  bought  Michelangelo's 
famous  Holy  Family  of  the  Tribune,  after  wrangling  with 
Buonarotti  for  months  over  the  price.  Now  in  his  anxiety 
to  obtain  good  pictures  at  the  lowest  possible  price,  he 
employed  the  young  painter  from  Urbino,  who  was  as  yet 
little  known  in  Florence,  to  paint  his  own  portrait  and  that 
of  his  wife,  a  lady  of  the  Strozzi  family.  Both  of  these 
portraits,  which  hang  to-day  in  the  Pitti  Gallery,  are  ad- 
mirable examples  of  Raphael's  close  and  faithful  study  of 
life.  They  are  painted  with  the  same  minute  attention 
to  detail,  the  same  anxious  rendering  of  each  single  hair, 
that  we  note  in  the  Borghese  portrait.  The  wealthy  mer- 
chant in  his  black  damask  suit  and  red  sleeves,  with  re- 
fined features  and  keen  anxious  gaze,  his  staid,  richly- 
dressed  wife  in  her  blue  brocades  and  jewelled  necklace, 
well  satisfied  with  herself  and  all  the  world,  are  living 
types  of  their  class.  Yet  in  the  form  of  the  pictures,  in 
the  pose  of  Maddalena  Doni's  head  and  of  her  placidly 
folded  hands,  we  are  conscious  of  a  new  influence.  If 
from  the  picture  we  turn  to  the  pen-and-ink  sketch  in  the 
Louvre,  we  see  at  a  glance  that  Leonardo's  Mono  Lisa 
was  in  Raphael's  mind  when  he  painted  Maddalena  Doni's 
portrait.  The  cut  of  the  dress,  the  ripple  of  the  hair, 
the  very  folds  of  the  bodice  are  exactly  copied  from  that 
famous  picture,  which  Raphael  must  have  seen  in  Fran- 
cesco Giocondo's  house  in  Florence.  Only  instead  of 
Leonardo's  rock  landscape,  he  has  sketched  a  view  of 
Umbrian  hills  and  Urbino  towers,  framed  in  between  the 
columns  of  an  open  loggia.  There  is,  we  must  confess, 


380  THE    PITTI    PALACE 

a  charm  in  the  drawing  which  is  lacking  in  the  picture. 
The  maiden  with  the  dreamy  eyes  and  youthful  face  was 
the  painter's  ideal ;  the  other  was  the  actual  woman,  Mad- 
dalena  Doni,  the  rich  merchant's  wife,  a  subject,  it  may 
be,  not  very  much  to  his  taste,  but  none  the  less  to  be 
painted  with  perfect  accuracy  and  truth." — (J.  C.) 

The  identity  of  the  famous  Donna  Velata  has 
not  been  determined. 

"  It  is  painted  on  canvas,  like  the  portraits  of  Castig- 
lione  and  the  two  Venetians  in  the  Doria  Palace,  with  the 
same  pearly  shadows  and  the  same  warm  golden  glow. 
The  maiden  is  of  noble  Roman  type,  her  features  are 
regular,  her  eyes  dark  and  radiant.  The  white  bodice 
that  she  wears  is  embroidered  with  gold,  and  the  sleeves 
are  of  striped  yellow  damask.  A  veil  rests  on  her 
smoothly  parted  hair  and  a  string  of  shining  black  beads 
sets  off  the  whiteness  of  her  finely  modelled  neck.  Here, 
then,  we  have  the  woman  whom  Raphael  loved  to  the  end. 
Whether  she  was  the  lady  of  the  sonnets,  and  his  verses 
are  written  in  the  book  that  she  clasps  to  her  heart,  or 
the  Mamola  bella  whom  he  mentions  in  the  letter  to  his 
uncle  we  cannot  tell.  But  we  know  that  the  same  beau- 
tiful face  meets  us  again  in  the  royal-looking  Magdalen, 
who  stands  at  St.  Cecilia's  side  in  the  Bologna  altar-piece, 
and  in  that  most  divine  of  all  his  Virgins,  the  Madonna 
di  San  Sisto."—(].  C.) 

Giorgione's  Concert  is  a  masterpiece  over 
which  critics  do  not  quarrel. 

"The  Concert,  in  which  a  monk,  with  cowl  and  ton- 
sure, touches  the  keys  of  a  harpsichord,  while  a  clerk, 
placed  behind  him,  grasps  the  handle  of  a  viol,  and  a 
third  with  cap  and  plume,  seems  to  wait  upon  the  true 
interval  for  beginning  to  sing,  is  undoubtedly  Giorgione's. 
The  outline  of  the  lifted  finger,  the  trace  of  the  plume, 
the  very  threads  of  the  fine  linen,  which  fasten  themselves 
on  the  memory,  in  the  moment  before  they  are  lost  al- 
together in  that  calm  unearthly  glow,  the  skill  which  has 
caught  the  waves  of  wandering  sound  and  fixed  them  for 
ever  on  the  lips  and  hands — these  are  indeed  the  master's 


FLORENCE  381 

own;  and  the  criticism  which,  while  dismissing  so  much 
hitherto  believed  to  be  Giorgione's,-  has  established  the 
claims  of  this  one  picture,  has  left  it  among  the  most 
precious  things  in  the  world  of  art." — '(W.  P.) 

Lorenzo  Lotti's  Three  Ages  of  Man  is  so  much 
in  the  style  of  Giorgione  that  it  has  been  attributed 
to  him.  The  picture  is  simple,  composed  only  of 
three  half-length  figures :  a  child,  whose  golden 
curls  escape  from  his  black  cap  in  the  centre;  a 
young  man,  in  green,  on  his  left;  and  an  old  man, 
in  a  red  mantle,  on  his  right. 

Titian's  portraits  are  among  his  best.  First 
comes  La  Bella,  who  is  Eleanor  Gonzaga,  who 
appears  also  in  the  Uffizi  (see  p.  394). 

"  Le  bella  di  Titiano  is  one  of  Titian's  likenesses  in 
which  every  feature  tells  of  high  lineage  and  distinction. 
The  pose,  the  look,  the  dress  are  all  noble.  We  may  pre- 
sume that  the  name  was  accepted  for  want  of  a  better. 
The  face  was  so  winning  that  it  lurked  in  Titian's 
memory,  and  passed  as  a  type  into  numerous  canvases  in 
which  the  painter  tried  to  realise  an  ideal  of  loveliness. 
The  head  being  seen  about  two-thirds  to  the  left,  whilst 
the  eyes  are  turned  to  the  right,  the  spectator  is  fascinated 
by  the  glance  in  whatever  direction  he  looks  at  the  can- 
vas. The  eye  is  grave,  serene,  and  kindly,  the  nose  deli- 
cate and  beautifully  shaped,  the  mouth  divine.  Abundant 
hair  of  a  warm  auburn  waves  along  the  temples,  leaving 
a  stray  curl  to  drop  on  the  forehead.  The  rest  is  plaited 
and  twisted  into  coils  round  a  head  of  the  most  symmetri- 
cal shape.  A  gold  chain  falls  over  a  throat  of  exquisite 
model,  and  the  low  dress  with  its  braided  ornaments  and 
slashed  sleeves,  alternately  tinted  in  blue  and  white  and 
purple,  is  magnificent.  One  hand — the  left — is  at  rest; 
the  other  holds  a  tassel  hanging  from  a  girdle.  Nothing 
can  exceed  the  delicacy  and  subtlety  with  which  the  flesh 
and  dress  are  painted;  the  tones  being  harmonised  and 
thrown  into  keeping  by  a  most  varied  use  and  application 
of  glazings  and  scumblings." — (C.  and  C.) 

Cardinal     Ippolito     de'     Medici     (1511-1535), 


382  THE    PITTI    PALACE 

painted  in  1532  after  the  Cardinal  had  taken  part 
in  a  campaign  against  the  Turks,  is  represented  in 
a  Hungarian  costume  consisting  of  a  garnet  velvet 
doublet  and  a  red  cap  adorned  with  a  buckle  and 
plumes.  His  left  hand  holds  a  sword;  his  right 
the  baton  of  command. 

"  Nothing  shows  to  better  advantage  the  marvellous 
suppleness  of  Titian's  genius  and  his  skill  in  varying 
treatment  according  to  the  requirements  of  the  subject 
than  this  portrait,  where  strength  of  modelling  is  shown 
in  the  face,  the  principal  character  of  which  lies  in  the 
contrast  of  the  delicacy  of  the  skin  with  the  clear-cut  fea- 
tures and  the  extraordinary  penetration  of  the  eyes." — 
(C.  and  C.) 

Aretino  was  ordered  by  the  "  Scourge  of 
Princes "  in  1546,  as  a  present  to  his  patron, 
Cosimo  I.,  bujt  the  latter  had  to  pay  for  it.  Are- 
tino called  it  a  "  hideous  marvel,"  though  admit- 
ting that  it  was  the  very  living  image  of  himself 
and  seemed  actually  to  breathe.  He  wears  a  yel- 
low tunic  and  red  mantle  held  by  his  gloved  left 
hand,  and  a  gold  chain. 

"  A  marvel  of  finish.  The  face  is  idealized,  and,  as 
far  as  possible,  ennobled.  The  model  has  not  lost  its 
characteristic  cunning  and  audacity;  the  type  of  the  blust- 
erer and  bully  is  not  completely  effaced,  nor  has  the 
natural  effrontery  of  the  scribe  entirely  disappeared ;  but 
the  worst  points  are  cleverly  toned  down." — (C.  and  C.) 

The  Young  Man,  sometimes  called  the  Duke  of 
Norfolk,  is,  however,  peculiarly  Venetian  in  type, 
with  his  blue  eyes,  reddish-brown  hair,  and  deli- 
cately-cut features.  It  is  a  marvellously  life-like 
production,  and  belongs  to  Titian's  best  period. 

"  This  is  one  of  the  greatest  masterpieces  that  I  know. 
He  is  a  man  of  thirty-five,  dressed  in  black,  pale,  and 
with  a  fixed  glance;  his  face  is  somewhat  thin;  his  eyes 


FLORENCE  383 

are  pale  blue;  and  a  small  moustache  joins  his  beard. 
He  is  of  a  great  race  and  of  high  rank;  but  seems  to 
have  enjoyed  less  of  ease  than  action;  experiences, 
anxieties  and  dangers  have  left  their  trace,  as  well  as  in- 
cessant hard  work.  His  energetic,  weary  and  dreamful 
head  has  had  to  form  sudden  resolutions  at  critical  mo- 
ments."—(H.  A.  T.) 

Philip  II.  is  a  copy  with  slight  changes  of  the 
one  in  the  Prado. 

The  very  beautiful  Magdalen  is  a  theme  that 
the  master  often  treated,  because  this  mixture  of 
piety  and  sensuality  appealed  at  once  to  his  own 
taste  and  to  that  of  his  day.  So  he  repeated  it 
more  than  once;  and  his  pupils  reproduced  to 
satiety  the  image  of  the  Penitent,  with  eyes 
drowned  in  tears,  and  hair  flowing  over  her 
shoulders  and  half  hiding  her  breast.  The  Pitti 
example  and  the  one  in  the  Hermitage  are  the 
finest  expressions  of  this  mystical  and  sensual 
theme. 

"  Even  in  spite  of  its  sensuality  of  flesh  tint  and  golden 
hair, — painted  from  pure  delight  in  beauty — Titian's 
Penitent  Magdalen  retains  its  spiritual  purport  of  affect- 
ing penitence." — (A.  G.) 

Swinburne  said  that  only  in  Florence  could  one 
realise  how  great  and  versatile  was  Andrea  del 
Sarto.  The  Pitti  is  very  rich  in  his  works.  One 
of  the  most  celebrated  is  the  Disputa,  or  Confer- 
ence of  the  Fathers  of  the  Church  regarding 
the  Doctrine  of  the  Trinity,  in  which  Andrea's 
fine  sense  of  colour  is  shown  to  the  best  advantage. 
The  single  female  figure  is  a  lovely  portrait  of  the 
painter's  wife.  The  picture  was  once  damaged  by 
a  rising  of  the  Arno,  traces  of  which  can  be  seen. 
"  The  so-called  Disputa  della  SS.  Trinita  is  particularly 


384  THE    PITTI    PALACE 

fitted  to  exhibit  Andrea's  affinity  with  the  Venetian 
School.  This  is  a  Santa  Conversazione  of  six  saints.  St. 
Augustine  is  speaking  with  the  highest  inspiration  of  man- 
ner; St.  Dominic  is  being  convinced  with  his  reason  and 
St.  Francis  with  his  heart;  St.  Lawrence  is  looking 
earnestly  out  of  the  picture;  while  St.  Sebastian  and  the 
Magdalen  are  kneeling  in  front,  listening  devoutly.  We 
here  find  the  most  admirable  contrast  of  action  and  ex- 
pression, combined  with  the  highest  beauty  of  execution." 

-at) 


The  Descent  from  the  Cross,  painted  for  the 
sisters  of  a  convent  where  Andrea  lived  during  the 
plague  of  1523,  is  also  beautiful  in  colour.  The 
Virgin  and  St.  John  are  holding  the  body  of  Christ ; 
the  two  female  saints  are  Mary  Magdalen  and 
Catherine,  and  St.  Peter  and  St.  Paul  stand  on 
the  right  and  left. 

"  The  Italians  call  him  il  pittore  senza  errori,  or  the 
faultless  painter.  What  they  meant  by  this  must  have 
been  that  in  all  the  technical  requirements  of  art,  in  draw- 
ing, composition,  handling  of  fresco  and  oils,  disposition 
of  draperies  and  feeling  for  light  and  shadow,  he  was 
above  criticism.  As  a  colourist  he  went  further  and  pro- 
duced more  beautiful  effects  than  any  Florentine  before 
him.  His  silver-grey  harmonies  and  liquid  blendings  of 
hues,  cool  yet  lustrous,  have  a  charm  peculiar  to  himself 
alone."— (J.  A.  S.) 

Two  Assumptions  of  the  Virgin  are  master- 
pieces. In  one  picture  the  Virgin  is  raised  up  to- 
wards heaven  very  gracefully  and  the  atmosphere 
is  like  Correggio's.  The  other,  in  which  the 
painter  appears  as  one  of  the  apostles,  was  never 
finished ;  but  it  is  full  of  lightness  and  vapour. 

Of  three  Annunciations,  No.  124  is  the  best: 
the  Madonna  in  Glory  with  Four  Saints  was 
completed  by  Bonilli ;  the  Madonna  and  Child  and 


THE  DISPUTA  BELLA  TRINITA— Andrea  del  Sarto 

PITTI 


LA  BELLA — Titian 
PITTI 


FLORENCE  385 

Saints  is  also  a  famous  work.  Two  panels  depict- 
ing episodes  from  the  story  of  Joseph  are  among 
the  choicest  examples  of  his  art.  They  formed 
the  decorations  for  a  wedding-chest  in' one  of  the 
rooms  of  the  Borgherini  Palace. 

The  half-length  John  the  Baptist,  an  ideal 
youth,  draped  in  a  skin,  has  the  face  of  the  painter's 
wife,  Lucrezia. 

Quiet,  reverent  and  tender  is  Perugino's  En- 
tombment, framed  in  a  landscape  remarkable  for 
the  space  suggested  and  for  its  beauty. 

"  The  picture  is  one  of  the  most  beautiful  that  Peru- 
gino  ever  painted.  The  composition  is  very  clever,  well 
balanced  and  well  grouped,  while  the  faces  are  of  a  serene 
beauty  that  was  never  surpassed  in  later  works.  It  is 
well  to  notice  that  the  dead  body  of  Our  Lord  retained 
much  of  the  flexibility  of  life,  while  quite  as  clearly  is  seen 
the  weight  and  looseness  of  death.  The  mourners  around 
are  full  of  tender  pity,  while  the  grief  of  the  Virgin  is 
too  great  for  words,  and  evinces  itself  in  the  look  of  deep 
affection  that  fills  that  wonderful  face."— (G.  C.  W.) 

Fra  Bartolommeo's  Risen  Christ  was  painted 
in  1516. 

"  The  most  perfect  thing  which  Bartolommeo  ever 
produced  is,  perhaps,  the  Risen  Christ  with  Four  Saints; 
the  gesture  of  benediction  could  hardly  be  more  grandly 
or  solemnly  represented;  the  Saints  are  sublime  figures; 
the  two  Putti  supporting  a  round  mirror,  with  the  picture 
of  the  world  (as  a  landscape),  complete  in  the  loveliest 
way  this  simple  and  severe  composition." — (J.  B.) 

The  colossal  St.  Mark  was  painted  on  this  scale 
because  the  artist  was  accused  of  not  being  able  to 
paint  in  large  dimensions. 

"  Here  the  Frate  falls  into  the  same  perversion  which 
we  find  in  Michael  Angelo :  he  creates  an  immense  motive 
for  merely  artistic  reasons;  in  the  head,  also,  there  is 


386  THE    PITTI    PALACE 

something  falsely  superhuman;  but  the  drapery,  which 
was  really  the  principal  object,  is  a  marvellous  work." — 
(J.  B.) 

The  Holy  Family  is  Raphaelesque  in  treatment 
and  composition.  The  Pieta,  or  Descent  from 
the  Cross,  is  a  remarkable  exhibition  of  fore- 
shortening. 

"  It  is  not  possible  to  cite  an  instance  in  which  a  life- 
less form  is  rendered  with  more  flexibility,  or  with  more 
anatomical  accuracy.  As  regards  foreshortening,  the 
Magdalen  is  unsurpassed." — (C.  and  C.) 

His  symmetrical,  stately  and  pyramidal  form  of 
composition  appears  in  the  Marriage  of  St. 
Catherine. 

"  In  composition,  drawing  and  relief,  it  was  beyond 
Fra  Bartolommeo's  power  to  come  nearer  perfection. 
The  whole  is  put  upon  the  panel,  as  Vasari  says,  in  so 
gallant  a  style  as  to  leave  the  impression  of  a  living 
scene." — (C.  and  C.) 

The  Madonna  with  Saints,  by  Fra  Filippo 
Lippi,  is  a  circular  picture.  The  Madonna  is  the 
novice,  Lucretia  Buti,  whom  Fra  Filippo  stole  from 
a  convent,  and  one  of  the  most  beautiful  he  ever 
painted.  She  is  seated  in  an  arm-chair  and  is 
giving  a  pomegranate  to  the  Child  Jesus  in  her 
lap,  who  has  taken  one  of  the  seeds.  Joachim  and 
Anna,  and  the  Nativity  of  the  Virgin  are  repre- 
sented in  the  background. 

Tintoret's  Venus,  Vulcan  and  Cupid  is  one 
of  his  early  works.  It  glows  with  colour,  and  has 
been  called  "  the  most  perfect  representation  of  the 
human  flesh  which  the  art  of  painting  has  pro- 
duced." Venus  lies  in  the  centre  on  a  green  drapery 
with  pearls  in  her  blonde  hair,  and  a  quiver  in  her 


FLORENCE  387 

right  hand.  Cupid,  with  an  arrow  in  his  hand,  is 
leaning  against  her  breast.  On  the  left,  Vulcan  is 
kneeling;  and,  in  the  background,  the  chariot  of 
Mars  is  descending  through  the  air. 

The  Three  Fates  was  designed  by  Michael 
Angelo  and  painted  by  Rosso  Florentino.  Accord- 
ing to  legend,  Michael  Angelo  took  for  his  model 
for  all  three  women  an  old  woman  who  brought 
her  son  to  him  to  fight  for  Florence  during  the 
siege  of  1529.  Clotho  holds  the  spindle,  Lachesis 
twists  the  thread,  and  Atropos  is  ready  to  cut  it 
with  her  scissors. 

Judith  with  the  Head  of  Holofernes  is  C. 
Allori's  best  known  picture.  The  head  of  Holo- 
fernes is  the  artist's  own  portrait;  that  of  Judith, 
his  mistress;  and  the  old  woman,  her  mother. 

"  He  represents  her  as  a  beautiful  and  splendidly-at- 
tired womarn  with  a  grand,  enthusiastic  expression,  and  a 
countenance  triumphant  and  Medusa-like,  conveying  all 
that  the  loftiest  poetry  can  express  in  the  character  of 
Judith."— (A.  H.  L.) 

The  Martyrdom  of  St.  Agatha,  by  Sebastian 
del  Piombo,  is  a  work  of  great  power  and  great 
fame.  The  Pretor  Quintianus,  who  ordered  the 
torture,  is  leaning  on  a  bench. 

"  This  picture  combines  the  composition  of  Michael 
Angelo  with  a  trace  of  Venetian  colouring." — (K.) 

Sebastian  del  Piombo's  equally  famous  Portrait 
of  a  Man,  with  long  black  beard  dressed  in  a 
black  baret,  green  cloak  that  allows  you  to  see 
his  red  sleeves,  and  fur  collar  is  a  mixture  of  the 
severe  Florentine  School  with  the  brilliant  colour 
of  the  Venetians. 

The  portrait  of  a  woman,  called  the  Monica, 


388  THE    PITTI    PALACE 

attributed  to  Leonardo  da  Vinci,  has  also  been  given 
to  Ridolfo  Ghirlandaio,  Perugino,  Lorenzo  di 
Credi  and  Franciabigio.  She  is  simply  attired 
in  a  low-necked  black  dress  and  white  veil  and 
holds  a  prayer-book  in  her  left  hand,  on  the  fore- 
finger of  which  a  ring  is  conspicuous.  Through 
the  arcades,  in  front  of  which  she  stands,  the  land- 
scape with  old  Florentine  buildings  is  visible. 

"  This  is  not  an  abstract  being  emanating  from  the 
painter's  brain,  but  an  actual  woman  who  has  lived,  a 
sister  of  Mona  Lisa  (Louvre),  as  full  of  inward  con- 
trasts and  as  inexplicable.  Is  she  a  nun,  a  princess,  or  a 
courtesan?"— (H.  A.  T.) 

The  Goldsmith,  once  attributed  to  Leonardo  da 
Vinci,  is  on  good  authority  given  to  Ridolfo  Ghir- 
landaio. The  man  wears  a  black  doublet  with 
brown  sleeves,  and  a  black  barret  confines  his 
light  hair.  He  is  looking  down  at  a  jewel  in  his 
right  hand.  The  landscape  background  is  finely 
treated. 

Lorenzo  Costa's  Portrait  of  a  Man  is  sup- 
posed to  be  Giovanni  Bentivoglio. 

"  A  fine  portrait  in  which  the  strong  brown  tone,  broad 
treatment  and  successful  modelling  of  the  master's  best 
period  prevail." — (C.  and  C.) 

Daniel  Barbaro,  Venetian  ambassador  to  the 
Court  of  Edward  VI.,  who  was  also  sent  to  the 
Council  of  Trent,  is  a  noble  example  of  Veronese 
and  of  Ventian  art. 

"  The  hands  are  magnificently  painted,  the  attitude  easy 
and  the  fur  of  the  dress  treated  with  great  breadth." — (S. 
and  J.  H.) 

Sustermans  of  Antwerp,  who  passed  nearly  all 


FLORENCE  389 

of  his  life  in  Florence,  and  painted  so  many  por- 
traits of  the  reigning  family  and  other  celebrities, 
sometimes  approaches  Van  Dyck  and  sometimes 
Velasquez.  One  of  his  most  interesting  pictures 
here  is  the  Holy  Family,  in  which  the  Virgin  is 
Vittoria  della  Rovere,  wife  of  Ferdinand  II.  de' 
Medici,  and  the  Infant  Jesus  her  son  Cosimo  III. 
Vittoria  also  appears  in  this  gallery  as  a  Vestal. 
A  notable  work  is  the  son  of  Frederick  III.  of 
Denmark,  with  light  curly  hair,  and  dressed  in 
armour,  with  a  lace  collar  and  blue  sash. 

Van  Dyck's  whole-length  Cardinal  Bentivoglio 
is  a  marvel  of  painting. 

"  The  artist  has  rendered  with  marvellous  success  the 
profound  character  of  that  piercing  eye,  that  thin,  austere, 
almost  ascetic  face.  Robed  in  the  Roman  purple  whose 
wide  folds  envelop  his  whole  figure  with  dazzling  splen- 
dour, the  cardinal  is  seated  before  a  little  table  covered 
with  papers.  In  the  midst  of  this  scale  of  harmonious  in- 
tensity the  head  and  hands  stand  out  with  astonishing  re- 
lief. It  is  life  itself  caught  and  transferred  to  canvas. 
Of  all  Van  Dyck's  portraits  this  is  rightly  counted  as  one 
of  the  most  perfect." — (J.  G.) 

To  Van  Dyck  is  also  attributed  a  portrait  of 
Charles  I.  and  Henrietta  Maria,  but  some  critics 
give  it  to  Van  Ceulen.  The  queen's  lace  and 
pearls  are  beautifully  treated. 

Rembrandt's  Old  Man,  painted  about  1660,  is 
seated  in  an  armchair,  his  right  arm  resting  on  a 
table.  The  man,  with  grey  hair  and  a  long  white 
beard,  is  dressed  in  black  with  a  brown  mantle, 
making  a  very  sombre  picture. 

Velasquez's  Equestrian  Portrait  Philip  IV.  of 
Spain  was  sent  to  Florence  so  that  the  sculptor 
Tacca  might  make  a  statue  from  it.  The  work  is  a 
small  replica  of  the  one  in  the  Prado. 


390  THE   PITTI   PALACE 

Here  we  find  a  very  famous  portrait  group  by 
Rubens,  the  Four  Philosophers,  sometimes  called 
Lipsius  and  his  Pupils,  representing  four  men 
in  a  room,  where  a  looped  curtain  reveals  a  beauti- 
ful landscape.  At  the  table  are  seated  Rubens's 
brother,  Philip,  a  noted  philologist,  with  pen  in 
hand;  on  his  left  is  Lipsius,  wearing  a  rich  fur  col- 
lar and  pointing  out  a  passage  in  a  book  with  his 
forefinger;  and  next  to  him  is  seated  a  man,  sup- 
posed to  be  Hugo  Grotius,  "  the  marvel  of  Holland," 
with  a  dog  at  his  side.  In  a  niche  is  a  bust  of 
Seneca  and  a  vase  of  tulips,  a  flower  much  loved  by 
Lipsius.  Rubens  himself  stands  behind  his  brother. 

Ulysses  and  Nausicaa  is  a  masterly  work  full 
of  strength.  The  landscape  is  by  Van  Uden,  re- 
touched by  Rubens,  who  painted  the  figures.  Ulys- 
ses is  trying  to  hide  himself;  and  Nausicaa,  having 
witnessed  the  shipwreck,  lifts  her  veil  while  her 
frightened  companions  hide.  A  town  appears  on 
the  shore  on  the  left;  and  on  the  right  there  is 
a  hill  crowned  by  a  castle  and  down  which  a 
cascade  falls.  Jupiter  and  Minerva  are  seen  in  the 
clouds. 

Van  Uden  also  painted  the  landscape  in  the 
Hay  Harvest,  or  the  Return  from  Work,  in 
which  peasants  with  their  tools  are  moving  towards 
the  right ;  two  horses  draw  a  wagon  on  the  left ; 
and  the  town  of  Mechlin  is  visible  on  the  horizon. 

"  The  Hay  Harvest  at  Mechlin,  in  the  quietest  land- 
scape lines,  gives  quite  a  delightful  sense  of  air  and  light, 
while  the  Nausicaa,  with  its  rich  landscape  of  rocks  and 
sea  and  its  fanciful  effects  of  light,  elevates  us  into  the  en- 
joyment of  a  fabulous  state  of  existence." — (B.) 

The  Allegory  of  War  is  considered  one  of 
Rubens's  best  works,  and  one  in  which  he  had  no 


FLORENCE  391 

aid.  It  is  also  called  Mars  Going  to  War  and 
was  a  present  from  him  to  the  painter,  Sustermans, 
who  had  asked  for  a  picture  from  him  as  a  sou- 
venir. On  the  right  the  Temple  of  Janus  stands 
open;  in  the  centre,  Mars  is  tearing  himself  away 
from  Venus,  urged  forward  by  Discord  and  pre- 
ceded by  Famine  and  Pestilence.  Study,  Archi- 
tecture, Music,  and  Charity  all  suffer  as  the  God 
advances ;  and  Europe,  dressed  in  blue,  raises  her 
arms  in  lamentation  to  the  sky.  In  the  background, 
a  battle  is  in  progress.  The  work  is  brilliant  in 
colour. 

The  Holy  Family  is  another  masterly  work. 

Salvator  Rosa's  Battle  (No.  133),  with  its 
two  detachments  of  cavalry  and  Turks  on  the  right, 
contains  a  portrait  of  the  painter,  who  has  repre- 
sented himself  as  the  knight,  unhorsed,  with  a  shield 
on  which  the  word  Saro  is  inscribed.  A  Harbour 
is  one  of  Salvator's  best  marines,  the  sky  having 
all  the  glow  and  softness  of  Claude  Lorraine.  His 
Portrait  represents  him,  palette  in  hand,  wearing 
blue  and  a  large  white  collar. 


> 


THE   UFFIZI 
FLORENCE 

THE  Galleria  degli  Uffizi  is  contained  in  the 
Palazzo  degli  Uffizi  built  by  Vasari  in  1560-1574 
for  the  municipal  offices  of  Cosmo  I.  and  connected 
to  the  Pitti  Palace  by  a  covered  corridor  a  quarter 
of  a  mile  long.  The  nucleus  of  the  pictures  was 
the  collection  from  the  Villa  Medici  in  Rome  and 
was  enriched  by  various  collections  of  the  Medici 
family.  Cardinal  Leopold  began  the  collection  of 
portraits  of  masters  by  themselves,  which  is  one 
of  the  features  of  this  gallery.  The  gems  are 
hung  in  the  Tribuna.  Chief  among  these  is  Raph- 
ael's Madonna  del  Cardellino  (of  the  Goldfinch), 
a  forerunner  of  La  Belle  Jardinere  (Louvre), 
painted  for  Lorenzo  Nasi  in  Florence,  who  gave 
it  to  his  bride  for  a  wedding-present.  The  picture 
was  badly  injured  by  an  earthquake  when  Nasi's 
house  was  destroyed  in  1548;  but  Nasi's  son  put 
the  fragments  together  with  great  skill.  The  work 
takes  its  name  from  the  goldfinch  (Cardellino) 
which  little  John  the  Baptist  presents  to  the  Child 
Jesus.  Florence,  with  the  Duomo  and  Campa- 
nile, appears  in  the  distance. 

"  The  group  is  relieved  equally  against  the  warm  brown- 
ish ground  and  the  cool  distance  and  sky.  The  children 
stand  out  clearly  against  the  coloured  dress  of  the  Virgin. 
The  attitude  of  Christ  contrasts  in  statuesque  and  classic 
rest  with  the  impulsive  movement  of  the  Baptist,  who  has 
just  arrived  after  finding  the  bird  and  shows  by  the  twitch 
of  his  eye  and  puffed  cheeks  and  open  lips  that  he  has  been 
392 


pn    j. 

03 

1-3    fc, 
.       &» 

fe    P 

o 


O 

1 


FLORENCE  393 

running  and  is  blown  by  his  exertion.  All  the  affectation 
and  conventional  grace  of  the  Umbrian  has  vanished  to 
make  room  for  something  better  and  more  refined.  The 
flowers,  chiefly  white,  which  adorn  the  foreground,  are  all 
suited  to  the  occasion  on  which  the  picture  was  produced." 
— (C.  and  C.) 

The  celebrated  Julius  II.,  represented  in  white 
surplice,  violet  cape  lined  with  fur  and  red  skull- 
cap, and  holding  a  handkerchief  in  his  hand,  is 
supposed  by  most  critics  to  be  the  original  work  of 
Raphael,  although  the  one  in  the  Pitti  also  claims 
to  be  the  original. 

"  No  token  of  insatiable  ambition  is  apparent  in  the 
likeness.  Julius  sits  quiescent  in  the  royal  chair.  Buried  in 
thought  he  seems  to  brood  over  the  memorable  sentences 
which  he  spoke  on  his  death-bed,  a  confession  of  deadly 
sins  and  an  assurance  that  he  knew  he  had  ruled  the 
church  as  it  ought  not  to  have  been  ruled.  His  very  at- 
titude is  that  of  a  man  bending  under  cares.  The  beard 
which  grew  as  a  symbol  of  defiance  (when  he  arrived  in 
Bologna  in  1510,  he  dismissed  his  barber  and  resolved 
that  his  beard  should  remain  uncut  until  the  French  had 
been  expelled  from  the  peninsula.  Raphael  met  him  on 
his  return  to  Rome,  June  27,  1511,  with  a  beard  of  eight 
months'  growth),  the  head  thrust  deeply  into  the  skull- 
cap, the  wrinkles  above  the  eyelids,  and  the  eyes  them- 
selves under  a  veil  of  pensiveness ;  all  indicate  moodiness 
and  age.  The  handkerchief  in  the  right  hand  and  the  left 
hand  on  the  arm  of  the  chair,  are  not  suggestive  of  mar- 
tial spirit." — (C.  and  C.) 

The  so-called  Fornarina  (or  baker's  daughter), 
dated  1512,  was  long  believed  to  be  by  Raphael, 
but  it  does  not  resemble  Raphael's  authentic  pic- 
ture of  the  Fornarina  in  the  Barberini  Palace  in 
Rome,  nor  the  Donna  Velata  (Pitti).  Many 
critics  attribute  it  to  Sebastian  del  Piombo. 

"  La  Fornarina  is  represented  in  a  rather  strange  cos- 


394  THE   UFFIZI 

tume;  she  is  clothed  almost  as  a  Bacchante,  and  wears  on 
her  left  shoulder  a  panther's  skin,  the  same  which  Raphael 
painted  in  the  St.  John  and  in  the  Madonna  dell'  Impan- 
nata.  At  the  period  when  Vasari  wrote  his  book  the  por- 
trait of  the  Fonwrina  belonged  to  Matteo  Botti,  guarda 
roba  of  the  Grand  Duke  Cosmo  I.,  to  whom  he  left  it  by 
will.  However,  notwithstanding  this  testimony  and  tra- 
dition, many  connoisseurs  doubt  if  this  portrait  be  really 
that  of  the  baker's  daughter  of  Trastevere,  and  even 
whether  it  be  the  work  of  Raphael.  Some  maintain  that 
it  is  the  portrait  of  the  celebrated  Marchioness  of  Pescara. 
Vittoria  Colonna,  by  Sebastian  del  Piombo;  others,  the 
portrait  by  Giorgione  of  that  much-loved  mistress  whose 
infidelity  caused  his  death." — (L.  V.) 

To  Raphael  is  also  attributed  the  Portrait  of 
a  Lady  dressed  in  the  Florentine  style  of  the  pe- 
riod, long  thought  to  be  Maddalena  Doni. 

The  two  portraits  of  Francesco  Maria  della 
Rovere,  Duke  of  Urbino,  and  his  wife,  Eleonora 
Gonzaga  (La  Bella,  Pitti),  rank  with  Titian's 
greatest  achievements  in  this  line.  In  the  former 
the  character  of  the  man  and  his  sallow  complexion 
are  brought  out  with  subtlety,  and  the  armour 
with  its  reflections  and  the  soft  plumes  are  mar- 
vellously depicted. 

"  We  see  him  with  the  plumed  helmet  and  the  emblems 
of  his  rank  in  the  background  of  a  semi-circular  niche 
covered  with  red  velvet.  The  steel  armour  in  which  his 
muscular  frame  is  encased  stands  out  a  marvel  of  cool 
bright  polish  in  front  of  the  niche,  whilst  his  head  is 
turned  to  the  right,  and  relieved  in  light  against  the  brown 
wall  of  a  room.  His  martial  aspect  is  enhanced  by  the 
firmness  of  his  pose,  the  staff  with  his  arms,  which  he 
holds  in  his  right  hand,  and  rests  on  his  hip,  and  the 
batons,  with  the  tiara  and  keys,  and  the  motto,  Se  Sibi, 
which  are  displayed  behind  him." — (C.  and  C.) 

Eleonora,    who   is    the    original    of   La    Bella 


FLORENCE  395 

(Pitti)  and  Venus  au  petit  chien  (see  below), 
being  now  over  thirty,  wears  a  matron's  cap. 
She  is  beautifully  dressed  in  a  dark  gown  with 
sleeves  slashed  with  yellow;  a  rich  girdle  and 
chain  with  jewel  around  her  neck. 

"  Her  look  is  stately,  yet  subdued.  Her  delicate  ringed 
hands  are  at  rest,  one  of  them  on  the  arm  of  a  chair. 
At  her  side  a  table  with  a  rich  green  cloth  supports  a 
lap-dog  and  a  chased  metal  clock,  whilst  the  afternoon 
sun  sheds  a  mild  light  through  an  open  casement.  Out- 
side the  sky  is  pure  and  lightly  flecked  with  clouds  and  a 
haze  rests  upon  the  distance  of  a  verdant  landscape.  To 
make  the  difference  apparent  between  the  blanched  com- 
plexion of  a  lady  accustomed  to  luxury  and  ease  and  the 
tanned  face  of  a  soldier  habitually  exposed  to  the  weather, 
Titian  skilfully  varied  the  detail  of  technical  execution. 
Here  he  is  minute  and  finished,  there  resolute  and  broad. 
Here  the  tinted  and  throbbing  flesh  is  pitted  against  a 
warm  light  ground,  there  the  sallow  olive  against  a 
dark  wall." — (C.  and  C.) 

Of  Titian's  two  pictures  of  Venus,  Venus  au 
petit  chien  is  the  famous  one,  supposed  to  be  an 
idealised  portrait  of  Eleonora  Ganzaga.  Venus 
lies  on  a  white  drapery,  with  flowers  in  her  hand. 
At  her  feet  is  a  little  dog,  which  gives  the  picture 
its  name. 

"  Nature,  as  he  represents  her  here,  is  young  and  lovely, 
but  conscious  and  triumphant  without  loss  of  modesty. 
The  flesh  is  not  marbled  or  cold,  but  sweetly  toned.  Per- 
fect distribution  of  space,  a  full  harmony  of  tints,  atmos- 
phere both  warm  and  mellow." — (C.  and  C.) 

It  is  interesting  to  compare  Flora  with  the  pic- 
ture in  the  Louvre  called  Laura  de'  Dianti  (see 
page  59). 

"  Here  instead  of  vivid  colour  and  powerful  effect  of 
light  and  shade,  we  have  all  light,  all  softness,  and  a  suf- 


396  THE   UFFIZI 

fusion  which  is  not  without  dazzling  brightness,  though 
it  is  without  strong  contrasts.  Here  in  fact  Titian  evi- 
dently desires  to  suggest  another  phase  of  life — not  the 
maiden,  but  the  woman — with  the  roses  which  she  has 
plucked,  the  woman  whose  skin  is  fair,  but  blanched  by 
art,  whose  shape  is  softened  by  seclusion,  a  woman  of 
delicate  whiteness,  seductive  and  lightly  clad.  Tradition 
again  suggests  Titian's  mistress." — (C.  and  C.) 

Another  remarkable  portrait  is  that  of  Becca- 
delli  of  Bologne,  Papal  nuncio  at  Venice : 

"  Titian  finished  this  portrait  in  July,  1552,  and  it  is  a 
magnificent  likeness,  in  which  the  true  grain  of  what  may 
be  called  Churchman's  flesh  is  reproduced  in  a  form  both 
clear  and  fair  but  with  the  slight  puffiness  and  tendency 
to  droop,  which  is  characteristic  in  priests.  The  whole 
picture  is  painted  after  Titian's  fashion  in  these  days  with 
broad  immediate  sweeps  of  a  brush  loaded  with  plenteous 
consistent  pigment  grained  to  a  pleasant  warmth.  The 
oblong  but  regular  head  with  spacious  forehead,  pointed 
beard  and  tumid  lips,  is  seen  to  great  advantage  beneath 
a  black  triangular  cap.  A  black  silk  cape  and  lawn  sleeves 
admirably  relieve  a  pair  of  hands  of  perfect  workmanship 
holding  between  them  a  piece  of  unfolded  paper.  The 
prelate  is  seated  in  an  armchair,  and  looks  up  as  if  he 
were  about  to  communicate  the  contents  of  the  paper  to 
some  one  near  him." — (C.  and  C.) 

The  Madonna  and  Child  with  St.  John  and  St. 
Anthony  the  Hermit,  also  called  the  Virgin  with 
the  Roses,  is  beautiful  in  colour,  composition, 
faces,  and  figures,  and  the  landscape,  that  extends 
into  a  wooded  country,  is  also  notable. 

"  The  boy  Baptist  with  his  offering;  the  Infant  Christ, 
stooping  this  time  from  His  mother's  lap,  accepting  the 
roses,  or  rather  having  taken  as  much  as  he  could  carry, 
looking  down  at  the  bunch  which  the  Baptist  still  holds  up 
to  him ;  the  Virgin  smiling  at  the  scene  as  she  sits  under 
the  shelter  of  a  brown  hanging  in  the  corner  of  a  land- 
scape ;  at  her  side  the  white-haired  and  bearded  St.  An- 


FLORENCE  397 

thony  with  his  bell,  leans  on  his  staff,  his  face  almost 
Leonardesque  in  type  and  regularity  of  feature.  Nothing 
as  yet  approaching  this  work  in  sweetness  of  tone,  freedom 
of  modelling  or  clever  appeal  to  nature  has  come  from 
Titian's  hand." — (C.  and  C.) 

Leonardo  da  Vinci's  Adoration  of  the  Magi, 

although  unfinished,  is  a  magnificent  composition 
with  a  fanciful  and  charming  background.  The 
most  complete  work  is  found  in  the  trees. 

"  This-  picture  in  which  the  distribution  and  composition 
are  of  a  studied  simplicity,  in  which  the  numerous  per- 
sons are  arranged  in  groups,  bound  together  by  skilful 
disposition  of  masses,  and  where  all  the  figures,  though 
placed  in  a  common  obscurity,  are  made  visible  by  the 
reflections  of  feeble  and  broken  lights,  is  the  most  com- 
plete example  that  Leonardo  has  left  to  painters  who,  like 
Fra  Bartolommeo,  have  devoted  themselves  to  the  art  of 
distributing  light,  and  combining  the  composition  of  their 
pictures  by  the  use  of  shade  on  shade." — (C.  F.  von  R.) 

The  Head  of  Medusa,  whether  by  Leonardo  or 
a  copy  of  his  work,  or  painted  from  Vasari's  de- 
scription of  Leonardo's  picture  that  long  belonged 
to  the  Duke  Cosimo  de'  Medici,  is  an  extraordi- 
nary picture. 

"  It  is  a  death-like  head,  of  a  fantastic  yet  realistic  type 
and  marvellously  drawn.  The  glassy  eyes  extinguish 
themselves  in  rolling  in  their  orbits,  the  mouth  is  distorted 
with  agony  and  the  hair,  which  seems  bristling  with  hor- 
ror, is  composed  of  hideous  green  snakes,  which  Leonardo 
has  rendered  with  an  extreme  fineness  of  touch ;  they  ex- 
tend themselves  as  if  fearfully  hissing ;  even  as  though 
they  shrunk  from  the  fatal  breath  that  escapes  from  that 
terrible  mouth."— (M.  M.  H.) 

An  Annunciation,  catalogued  to  Leonardo,  is 
now  supposed  to  be  by  Ridolfo  Ghirlandaio.  Beau- 
tifully painted  is  the  marble  table  at  which  the 


398  THE   UFFIZI 

Virgin  is  seated ;  and  the  landscape,  with  its  for- 
mal trees  and  flower-bed  near  which  Gabriel  is 
kneeling,  is  of  the  greatest  charm.  The  work  has 
also  been  attributed  to  Lorenzo  di  Credi. 

Perseus  Delivering  Andromeda  from  the 
Sea  Monster  is  a  picture  exquisite  in  its  details. 
There  is  authority  for  believing  that  it  was  drawn 
by  Leonardo  da  Vinci  and  painted  by  Piero. 

"  Piero  di  Cosimo  never  painted  anything  better,  for  it 
is  impossible  to  conceive  a  sea-monster  more  whimsically 
imagined  than  this,  nor  a  more  resolute  attitude  than  that 
of  Perseus,  who  strikes  at  him  in  the  air  with  his  sword. 
Here  is  Andromeda  bound,  divided  between  fear  and  hope, 
of  a  most  fair  countenance;  and  here,  in  the  foreground, 
are  many  people  collected  in  various  and  strange  cos- 
tumes, playing  on  instruments  and  singing,  among  whom 
some  laugh  and  rejoice  at  the  liberation  of  Andromeda. 
The  landscape  is  beautiful  and  agreeable  in  colour,  and  for 
gradation  of  tints  and  soft  effects  this  work  is  managed 
with  great  care." — (V.) 

We  find  two  examples  of  Luini's  Salome  and 
the  Head  of  John  the  Baptist.  One  was  long 
attributed  to  Correggio  and  the  other  to  Leonardo 
da  Vinci,  but  modern  criticism  has  given  them 
both  to  Luini.  It  was  a  favourite  subject  with 
this  master.  Of  the  two  examples  here,  No.  1132 
is  the  better. 

"  The  princess  is  turning  aside  towards  an  old  woman 
at  her  side,  while  the  executioner  holds  the  head  over  a 
splendid  gold  chalice-like  cup.  Her  expression  is  a  very 
sweet  one,  but  quite  out  of  keeping  with  any  idea  either 
of  sorrow,  sympathy,  or  fear." — (G.  C.  W.) 

The  Holy  Family  is  the  only  easel  picture  in 
existence  by  Michael  Angelo,  and  is  peculiarly 
unattractive.  The  nude  figures  in  the  background 


FLORENCE  399 

greatly  resemble  those  in  a  similar  picture  by  Sig- 
norelli,  also  in  this  gallery. 

"  It  must  have  been  sheer  caprice  that  led  him  to  paint 
this  pictr.re.  The  power  of  the  picture  is  so  thrust  upon 
the  spectator  by  the  uncomfortable  attitude  of  the  Virgin 
that  the  subject  loses  in  sweetness  and  grace  more  than 
can  possibly  be  gained  by  any  exhibition  of  the  artist's 
mastery  over  strained  muscles  and  colossal  form." — 
(M.  O.) 

A  curious  Allegory  (sometimes  called  Madonna 
by  the  Lake),  by  Giovanni  Bellini,  has  long  been 
a  puzzle.  Recently  Dr.  Ludwig  discovered  that  it 
was  inspired  by  a  mediaeval  work,  Le  Pelerinage 
de  Tame,  by  Guillaume  de  Guilleville. 

"  The  railed-in  space  is  the  earthly  paradise  where  souls 
represented  as  children  shake  down  fruits  from  a  tree, 
the  mystical  tree  of  the  Cantus  Canticum.  Saints  Peter 
and  Paul  guard  the  door,  while  the  hermit  across  the  water 
indicates  the  life  of  asceticism  and  resistance  of  temptation 
(typified  by  the  centaur),  by  which  alone  the  probation  of 
purgatory  is  lessened." — (R.  E.  F.) 

Giorgione's  Ordeal  of  Moses  and  Judgment  of 
Solomon  are  supposed  to  have  been  painted  be- 
tween his  sixteenth  and  eighteenth  year,  but  they 
already  show  the  deep  tones,  brilliant  touch, 
radiance  of  sky  and  landscape  and  fine  figures  that 
were  among  his  distinguishing  characteristics. 
The  subject  of  the  first  is  taken  from  a  Rabbinic 
legend  describing  Moses  as  being  brought  before 
Pharaoh  and  offered  a  dish  of  burning  coals  and 
a  ruby  in  order  to  decide  a  point.  His  life  hung 
on  the  choice  of  the  coals.  At  first  the  child 
reached  for  the  ring;  but  the  angel  Gabriel,  who 
was  present,  turned  his  hand  aside.  Moses  took 


400  THE   UFFIZI       . 

a   coal   and   put  it   in   his   mouth,   and   burnt   his 
tongue  so  that  he  never  after  spoke  distinctly. 

"  Pharaoh  sits  on  a  throne  inlaid  with  marbles  and 
carved  with  reliefs.  His  court  surrounds  him.  Two 
pages  in  front  present  the  dishes  in  which  fire  and  gold 
are  placed.  The  infant  Moses  supported  by  his  mother 
plays  with  the  fire  and  surprises  the  bystanders.  The 
background  is  a  glade  with  tall  trees,  through  the  trunks 
and  boughs  of  which  the  forest  and  distant  hills  appear. 
There  is  a  high  and  courtly  air  in  the  graceful  setting  and 
proportion  as  well  as  in  the  rich  dress  of  the  dramatis 
persona.  The  diverse  shades  of  intensely  bright  foliage 
relieved  upon  each  other  or  thrown  upon  the  radiant  sky, 
the  blue  mountains  from  which  the  nearer  slopes  and  flow- 
ers are  so  cleverly  parted — all  this  is  laid  in  with  exquisite 
touch  and  minuteness  of  finish ;  and  a  clear  exhilarating 
sparkle  suggests  those  delightful  hours  of  the  warmer 
climes  when  rain  has  cooled  the  air  and  filtered  it." — (C. 
and  C.) 

The  Judgment  of  Solomon  is  also  a  combina- 
tion of  figures  and  landscape.  Although  the  dis- 
tribution of  the  actors  is  similar,  the  figures  are 
not  quite  so  fine. 

"  There  is  more  vividness  of  tone,  more  variety  of 
ground  and  episode,  and  more  richness  of  contrasts,  yet 
not  more  gorgeous  vegetation ;  and  the  country  is  the 
same,  seen  from  a  more  interesting  side.  The  figures  alone 
are  less  ably  wrought  and  numerous  repaintings  and  mod- 
ern alterations  of  costume  deface  the  composition." — (C. 
and  C.) 

Botticelli  is  splendidly  represented  here  in  every 
phase  of  his  art.  First  there  is  the  famous  Birth 
of  Venus;  the  allegory  called  Calumny;  the 
exquisite  Madonna  of  the  Magnificent;  The 
Madonna  della  Melagrana;  the  Adoration  of 
the  Magi  and  the  Return  of  Judith;  and  Por- 
trait of  Giovanni  di  Cosimo  de'  Medici. 

The  Birth  of  Venus  is  Botticelli's  greatest  mas- 


FLORENCE  401 

terpiece  in  decorative  design,  and  although  the 
colours  are  pale  and  cold  and  probably  somewhat 
faded,  they  are  exquisitely  blended.  Modern  criti- 
cism has  rejected  the  idea  that  it  is  a  companion 
to  the  Primavera,  although  both  pictures  were 
painted  for  Lorenzo  de'  Medici  (see  p.  362). 

"  In  pictures  like  this  of  Botticelli's  you  have  a  record 
of  the  first  impression  made  by  the  Hellenic  spirit  on 
minds  turned  back  towards  it  in  almost  painful  aspira- 
tion from  a  world  in  which  it  had  been  ignored  so  long; 
and  in  the  passion,  the  energy,  the  industry  of  realization, 
with  which  Botticelli  carries  out  his  intention,  is  the  exact 
measure  of  the  legitimate  influence  over  the  human  mind 
of  the  imaginative  system  of  which  this  is  the  central 
myth.  The  light  is,  indeed,  cold — mere  sunless  dawn ;  but 
a  later  painter  would  have  cloyed  you  with  sunshine; 
and  you  can  see  the  better  for  that  quietness  in  the  morn- 
ing air  each  long  promontory  as  it  slopes  down  to  the 
water's  edge.  Men  go  forth  to  their  labours  until  the 
evening;  but  she  is  awake  before  them,  and  you  might 
think  that  the  sorrow  in  her  face  was  at  the  thought  of  the 
whole  long  day  of  love  yet  to  come.  An  emblematical 
figure  of  the  wind  blows  hard  across  the  grey  water,  mov- 
ing forward  the  dainty-lipped  shell  on  which  she  sails,  the 
sea  '  showing  his  teeth  '  as  it  moves  in  thin  lines  of  foam, 
and  sucking  in  one  by  one  the  falling  roses,  each  severe  in 
outline,  plucked  off  short  at  the  stalk,  but  embrowned  a 
little,  as  Botticelli's  flowers  always  are.  Botticelli  meant 
all  that  imagery  to  be  altogether  pleasurable;  and  it  was 
partly  an  incompleteness  of  resources,  inseparable  from  the 
art  of  that  time,  that  subdued  and  chilled  it ;  but  his  predi- 
lection for  minor  tones  counts  also;  and  what  is  unmis- 
takable is  the  sadness  with  which  he  has  conceived  the 
goddess  of  pleasure  as  the  depository  of  a  great  power  over 
the  lives  of  men." — (W.  P.) 

Calumny  is  a  small  picture,  only  two  by  three 
feet,  but  it  is  nevertheless  a  great  one.  The  subject 
was  taken  from  Lucian's  description  of  a  lost  mas- 
terpiece by  the  old  Greek  painter  Apelles.  Botti- 


402  THE   UFFIZI 

celli  follows  the  narrative  closely,  laying  the  scene 
in  a  spacious  Renaissance  audience-hall  decorated 
with  statues  and  friezes  with  large  open  arches 
giving  a  view  of  the  sea  and  sky.  On  the  right 
is  enthroned  the  Judge  who  is  listening  to  the  two 
women,  Ignorance  and  Suspicion.  Calumny  with 
flaming  torch  in  one  hand  is  dragging  in  a  young 
man.  She  is  accompanied  by  her  two  maids,  Deceit 
and  Hypocrisy,  and  is  led  by  an  evil-looking  man, 
who  is  Envy  or  Rancour.  Remorse  clad  in  dark 
robes  stands  to  the  left,  and  behind  him  naked 
Truth,  strikingly  like  Venus  in  the  Birth  of 
Venus. 

"  The  scene  is  vividly  and  dramatically  realised ;  but  it 
is  rendered  with  a  vehemence  both  of  sentiment  and  ex- 
pression which  somewhat  detracts  from  the  artistic  effect. 
.  .  .  The  picture  displays  a  bitter  irony  of  feeling  that 
is  quite  unprecedented  in  Botticelli's  art.  It  seems  to  have 
been  painted  in  some  mood  of  exasperation,  as  a  passionate 
protest  against  intrigue  and  falsehood,  a  passionate  ap- 
peal for  right  and  justice.  For  the  first  time  he  subordi- 
nates, even  sacrifices,  aesthetic  effect  to  an  ethical  purpose, 
and  uses  his  art  as  a  means  for  expounding  moral  truths." 
-(A.  S.) 

The  Madonna  of  the  Magnificat,  so  called 
because  the  Virgin  is  writing  this  hymn  in  the  book 
on  her  lap,  is  in  tondo  form,  and  is  one  of  the  most 
beautiful  of  Botticelli's  works.  The  Virgin  in  face 
expression,  as  well  as  the  arrangement  of  her  drap- 
eries, recalls  Fra  Filippo  Lippi.  Beautifully 
painted  is  the  jewelled  crown  that  two  angels 
are  holding  above  her  head,  and  beautiful  is  the 
angel  that  hovers  over  the  two  grandsons  of 
Cosimo,  Giuliano  and  Lorenzo  de'  Medici,  rep- 
resented also  as  angels. 

"In  feeling,  the  Magnificat  shows  far  less  intensity  of 


MADONNA  OF  THE  MAGNIFICAT— Botticelli 

UFFIZI 


MADONNA  DI  SAX  FRANCESCO— Andrea  del  Sarto 

UFFIZI 


FLORENCE  403 

emotion,  much  more  suavity  of  mood,  than  is  usual  in 
Botticelli's  religious  pictures.  The  sadness  with  which  he 
habitually  invested  his  Madonnas  is  here  reduced  to  a 
vague,  soft  melancholy;  and  but  for  the  inspired  eyes  of 
the  Holy  Child,  and  the  eager  life  of  the  child-angels,  the 
religious  as  well  as  the  human  interest  is  subordinated  to 
the  development  of  a  motive  of  artistic  beauty.  The  com- 
position of  this  picture  has  been  likened  by  Mr.  Symonds 
to  the  'corolla  of  an  open  rose.'  The  grouping  is  su- 
perbly designed  to  suit  the  requirements  of  circular  distri- 
bution. Not  only  are  the  attitudes  of  the  figures  so  ar- 
ranged that  their  leading  lines  shall  follow  the  marginal 
curve,  but  in  almost  every  detail,  in  the  trailing  wreaths 
of  the  Madonna's  veil,  in  the  loosely  coiled  plaits  of  her 
hair,  the  careless  knot  of  her  kerchief,  and  even  the 
carved  tracery  of  her  chair,  as  well  as  in  the  wavy  masses 
and  soft  locks  of  the  angel's  hair,  and  the  windings  of 
the  distant  river,  the  artist  has  introduced  an  elaboration 
of  curves  and  undulations  which  respond  to  the  external 
circle  and  repeat  its  flow  of  line  with  infinite  variations. 
The  colouring  is  clear  and  soft  and  so  harmoniously 
blended  as  to  appear  almost  subdued  in  tone.  There  is 
considerable  use  of  gold  in  the  hair  and  ornaments;  and 
in  every  detail  the  picture  is  exquisitely  and  delicately 
finished."— (A.  S.) 


It  is  interesting  to  compare  this  work  with  the 
Madonna  della  Melagrana  deriving  its  name 
from  the  pomegranate  in  the  hand  of  the  excep- 
tionally beautiful  Infant  on  the  Virgin's  lap.  This 
is  also  a  tondo  and  similar  in  colour,  though  very 
different  in  composition  and  feeling. 

"  In  returning  to  his  old  theme  of  Our  Lady  enthroned 
among  angels,  he  represents  it  in  an  indeterminate  region 
which  is  neither  heaven  nor  earth.  A  celestial  light  falls 
on  her  from  above ;  but  her  thoughts  seem  rather  occupied 
with  the  things  of  earth.  This  woe-begone  Madonna, 
wistful  beyond  all  his  other  Madonnas,  is  possessed  by  a 
melancholy  which  is  not  only  that  of  apprehension  for 
what  is  inevitably  coming,  but  also  of  vague  regret  for 


404  THE   UFFIZI 

what  has  been  irrevocably  missed.  She  is  not  only  sur- 
veying the  sorrow  that  awaits  her  in  the  future,  the  agony 
of  the  Pieta,  the  pain  that  is  part  of  her  love  for  her  Di- 
vine Child;  she  is  also  measuring  the  sacrifice  of  the  pres- 
ent— the  renunciation  of  all  the  natural  joys  of  life  and 
youth  that  are  incompatible  with  her  miraculous  mother- 
hood."—(A.  S.) 

The  Adoration  of  the  Magi  was  ordered  by 
the  Medici  for  the  Church  of  Sta.  Maria  Novella 
shortly  after  the  death  of  Cosimo  and  was  intended 
to  honour  him.  Cosimo  kneels  before  the  Virgin 
and  kisses  the  Infant's  feet.  The  other  two  Magi 
are  portraits  of  Giuliano  and  Giovanni  de'  Medici 
(Leo  X.).  The  young  man,  on  the  left,  on  horse- 
back is  probably  Lorenzo  the  Magnificent. 

"  It  is  the  most  scientific  and  realistic  of  all  Botticelli's 
masterpieces,  and  as  such  it  furnishes  a  remarkable  in- 
stance of  the  versatility  of  his  genius.  Though  belonging 
to  the  same  period  as  the  panel  of  the  warrior's  dream,  it 
has  nothing  in  common  with  this  work,  except  an  obvious 
desire  to  do  honour  to  the  Medici,  of  which  family  it 
contains  several  portraits." — (A.  S.) 

The  portrait  supposed  to  represent  Giovanni 
de'  Medici,  younger  son  of  Cosimo,  a  man  of 
haughty  bearing  and  holding  a  medal  of  Cosimo 
in  his  hands,  has  a  fine  landscape  background. 

"  In  the  strong  intellectual  features  Botticelli  shows  his 
power  of  reconstructing  a  vigorous  and  commanding  per- 
sonality ;  and  the  soft  mass  of  thick,  wavy  hair  which 
frames  the  hard,  almost  gaunt  outlines  of  the  face,  is 
rendered  with  wondrous  delicacy  and  life." — (A.  S.) 

Judith   is  a  tragic  subject  treated  with   rare 
grace  and  restraint. 
"  Mr.  Ruskin,  in  his  petulant-playful  way,  has  touched 


FLORENCE  405 

upon  the  feeling  of  amaze  most  people  have  who  look  for 
the  first  time  at  Botticelli's  Judith  tripping  smoothly  and 
lightly  over  the  hill-country,  her  steadfast  maid  dogging 
with  intent  patient  eyes  every  step  she  takes.  You  say  it 
is  flippant,  affected,  pedantic.  For  answer,  I  refer  you  to 
the  sage  himself,  who,  from  his  point  of  view — that  paint- 
ing may  fairly  deal  with  a  chapter  of  history — is  perfectly 
right.  The  prevailing  strain  of  the  story  is  the  strength 
of  weakness — ex  dulci  fortitude,  to  invert  the  old  enigma. 
"  O  God,  O  my  God,  hear  me  also,  a  widow.  Break  down 
their  stateliness  by  the  hand  of  a  woman !  "  It  is  the  re- 
frain that  runs  through  the  whole  history  of  Israel,  that 
reasonable  complacency  of  a  little  people  in  their  God- 
fraught  destiny.  And,  withal,  a  streak  of  savage  spite : 
that  the  audacious  oppressor  shall  be  done  scornfully  to 
death.  Giuditta,  dainty,  blue-eyed,  a  girl  still  and  three 
years  a  widow,  flits  homeward  through  a  spring  land- 
scape of  grey  and  green  and  the  smile  of  a  milky  sky, 
being  herself  the  dominant  of  the  chord,  with  her  bough 
of  slipt  olive  and  her  jagged  scimitar,  with  her  pretty 
blue  fal-lals  smocked  and  puffed,  and  her  yellow  curls 
floating  over  her  shoulders.  On  her  slim  feet  are  the  san- 
dals that  ravished  his  eyes ;  all  her  maiden  bravery  is 
dancing  and  fluttering  like  harebells  in  the  wind.  Behind 
her  plods  the  slave  girl  folded  in  an  orange  scarf,  bearing 
that  shapeless,  nameless  burden  of  hers,  the  head  of  the 
grim  Lord  Holofernes.  Oh,  for  that,  it  is  the  legend  it- 
self! For  look  at  the  girl's  eyes.  What  does  their  dreamy 
solemnity  mean  if  not,  '  the  Lord  hath  smitten  him  by  the 
hand  of  a  woman  '?  One  other  delicate  bit  of  symbolizing 
he  has  allowed  himself,  which  I  may  not  omit.  You  are  to 
see  by  whom  this  deed  was  done :  by  a  woman  who  has 
unsexed  herself.  Judith  is  absorbed  in  her  awful  service; 
her  robe  trails  on  the  ground  and  clings  about  her  knees; 
she  is  unconscious  of  the  hindrance.  The  gates  of  Be- 
thulia  are  in  sight;  the  Chaldean  horsemen  are  abroad, 
but  she  has  no  anxiety  to  escape.  She  is  swift  because 
her  life  just  now  courses  swiftly;  but  there  is  no  haste. 
The  maid,  you  shall  mark,  picks  up  her  skirts  with  careful 
hand,  and  steps  out  the  more  lustily  for  it. 

"  No  blood  if  you  please.  Therefore,  in  Botticelli's 
Judith,  nothing  but  the  essentials  are  insisted  on :  the  rest 
we  instantly  imagine,  but  it  is  not  there  to  be  sensed.  The 


4o6  THE  UFFIZI 

panel  is  in  a  tremor.  So  swift  and  secret  is  Judith,  so 
furtive  the  maid,  we  need  no  hurrying  horsemen  to  re- 
mind us  of  her  oath, — '  Hear  me,  and  I  will  do  a  thing 
which  shall  go  throughout  all  generations  to  the  children 
of  our  nation.'  Sudden  death  in  the  air;  nature  has  been 
outraged.  But  there  is  no  drop  of  blood — the  thin  scarlet 
line  along  the  sword-edge  is  a  symbol  if  you  will— the 
pale  head  in  the  cloth  is  a  mere  '  thing ' ;  yet  we  all  know 
what  has  been  done."— (M.  Hew.) 

An  altar-piece  of  Domenico  Ghirlandaio's  early 
years  is  the  Madonna  Enthroned. 

"The  Virgin  sits  beneath  a  canopy  holding  the  Child 
upon  her  left  knee,  while  he  with  one  hand  holds  to  his 
side  a  crystal  ball  surmounted  by  a  jewelled  cross,  and 
raises  the  other  hand  in  the  act  of  blessing.  The  Virgin 
wears  a  rose-red  robe,  over  which  a  blue  robe,  lined  with 
green,  is  clasped  across  her  breast  by  that  brooch  which 
appears  so  often — this  time  the  central  stone  is  blue  in- 
stead of  red — in  Domenico's  pictures,  and  is  perhaps  a 
memory  of  the  Ghirlandajo  goldsmith's  shop.  By  her 
side  stand  attendant  angels,  two  on  either  hand,  crowned 
with  garlands  and  at  once  carrying  the  mind  back  to  the 
'  Coronation '  picture  of  the  Accademia  by  Filippo  Lippi. 
On  the  steps  of  her  throne  stand  St.  Michael  and  St. 
Raphael,  two  charming  naive  figures,  of  whom  the  former 
reappears  in  more  developed  but  not  more  engaging  shape 
in  the  altar-piece,  now  at  Munich,  which  Domenico  de- 
signed for  Sta.  Maria  Novella  in  the  last  two  years  of  his 
life.  Below  the  steps  on  either  side,  kneel  the  two  bishop 
saints,  St.  Zenobius  and  St.  Justus.  A  rich  carpet  of  the 
kind  beloved  by  Baldovinetti  and  Domenico  lies  upon  the 
steps  before  the  Madonna,  while  cypresses  and  oranges 
are  seen  against  the  sky  in  the  upper  part  of  the  picture. 
The  architectural  setting  is  lovingly  painted  and  strangely 
beset  with  jewels,  an  offence  indeed  to  the  architect, 
though  a  delight  to  the  jeweller.  The  picture  is  thus  full 
of  the  traits  of  Ghirlandajo's  art,  to  which  may  be  added 
one  minor  detail  which  recurs  over  and  over  again  in  his 
paintings,  and  may  be  called  a  persistent  mannerism  of 
the  painter;  I  mean  the  curious  and  outward  crooking  of 


FLORENCE  407 

the  little  finger.  If  this  peculiarity  be  looked  for  in  the 
hands  in  any  of  his  pictures  painted  after  1475,  it  will  sel- 
dom be  found  to  be  wholly  absent. 

"  This  Madonna  Enthroned  has  much  charm  together 
with  some  obvious  shortcomings.  It  is  delightful  in  its 
fresh,  gay,  simple  pleasure  in  the  brightness  of  youth  and 
life.  The  Madonna  has  the  sweet,  simple  face  of  one  who 
does  not  forecast  her  sorrow  but  is  content  with  her  pres- 
ent joy.  She  has  in  her  attitude,  and  cast  of  drapery,  and 
form,  memories  both  of  Filippo  Lippi  and  of  Verrocchio." 
-(G.  S.  D.)  , 

The  round  panel,  or  tondo,  The  Adoration  of 
the  Kings,  is  dated  1487: 

"  By  reason  of  its  gaiety  and  life,  and  the  presence  of  a 
certain  na'ive  delight  in  bright  colours  and  strange  uni- 
forms and  animals  and  flowers — for  Ghirlandajo's  favour- 
ite flower,  the  Star  of  Bethlehem, 'carpets  the  foreground — 
it  is  a  fascinating  picture.  Here  the  Virgin's  throne  is 
lowlier  than  in  most  cases,  just  as  she  herself  is  less  of  a 
queen  and  more  of  a  village  maiden  than  in  the  Innocenti 
group.*  She  sits  on  a  low  pedestal — a  marble  fragment 
which  has  fallen  from  the  mined  classical  arches  seen  be- 
yond."—(G.  S.  D.) 

Ghirlandaio  has  also  a  lovely  Madonna  En- 
throned with  six  saints  at  her  side  arid  St.  Domi- 
nic and  St.  Francis  kneeling  in  front. 

"  The  two  kneeling  monks  are  made  much  smaller  than 
the  Virgin,  the  St.  John,  or  the  other  saints.  They  are 
to  be  thought  of  as  living  men  at  the  time  of  their  so 
kneeling,  and  so  by  the  old  tradition  must  be  made  smaller 
than  the  glorified  saints  above.  The  picture  is  indeed  that 
of  a  sound  painter  enough,  one  who  saw  no  visions,  had 
no  strong  individual  aim,  loved  bright  colours  and  pretty 
patterns  and  was  fond  of  flowers  and  animals.  The  trees 
thrown  against  the  sky  above  the  line  of  the  canopy,  es- 
pecially the  orange  trees,  are  good,  and  are  the  work  of  a 
man  that  loved  them.  There  is,  too,  a  richly  painted  car- 

.    *  Adoration  of  the   Magi,   Innocenti   Hospital,  Florence. 


408  THE   UFFIZI 

pet,  which  appears  again  in  his  San  Miniato  fresco." — (G. 
S.  D.) 

Ridolfo  Ghirlandaio's  two  masterpieces  are 
here.  One  depicts  the  Transference  of  the 
Relics  of  St.  Zanobius  to  their  resting-place  in 
the  Duomo,  with  the  miracle  which  the  shrine 
in  its  transit  performed  in  the  Piazza.  San  Gio- 
vanni behind  the  Baptistry. 

"  The  shrine  having  been  lowered  to  give  the  bearers 
rest,  the  legend  had  it  that  a  dead  tree  revived  and 
sprang  into  life.  To-day  in  that  Piazza  a  column  marks 
the  site  of  this  legendary  miracle.  In  the  other  compan- 
ion picture,  St.  Zanobius  restores  to  life  the  dead  child  of 
a  French  lady  in  the  Borgo  degli  Albizzi.  In  the  first 
picture  the  shrine,  which  by  the  way  is  not  the  shrine  of 
Ghiberti's  workmanship  which  now  contains  the  relics,  is 
carried  on  the  shoulders  of  bishops,  while  the  tree  is  seen 
flinging  its  fresh  foliage  into  the  sky  above.  The  colours 
are  deep  and  transparent,  but  with  a  certain  tendency  to 
blackness,  which  reminds  one  of  the  same  defect  in  Fra 
Bartolommeo's  later  work.  The  drawing  is  good  upon 
the  whole,  but  the  figures  are  somewhat  short  and  the 
hands  lack  character,  that  of  the  bishop  holding  up  his 
robe  in  the  far  left  being  weak.  The  companion  subject, 
the  Miracle  of  San  Zanobius,  is  inferior  to  the  other,  pre- 
senting the  same  faults  in  a  higher  degree." — (G.  S.  D.) 

Filippino  Lippi's  Adoration  of  the  Magi  is  a 
brilliant  and  rich  composition,  with  the  walls  of 
the  stable  broken  away  to  give  a  view  of  a  beautiful 
landscape  and  glimpse  of  the  sea.  It  is  both  sump- 
tuous and  devotional  and  contains  portraits  of  well- 
known  contemporaries,  especially  members  of  the 
Medici  family.  The  old  King,  with  bald  head, 
holding  a  quadrant,  is  Piero  Francesco  de'  Medici . 

"  No  careful  and  grateful  student  of  this  painter  can 
overlook  his  special  fondness  for  sea-sides ;  the  tenderness 
and  pleasure  with  which  he  touches  upon  the  green  open- 


FLORENCE  409 

ing  of  their  chines  or  coombs,  the  clear,  low  ranges  of 
their  rocks.  This  picture  bears  witness  to  this.  Beyond 
the  furthest  meadows  and  behind  the  tallest  trees  far-off 
downs  and  cliffs  open  seaward,  and  further  yet  pure  nar- 
row spaces  intervene  of  gracious  and  silent  sea." — (H.  S.) 

The  Madonna  di  San  Francesco,  or  Madonna 
dell'  Arpie,  was  painted  for  the  nuns  of  St.  Fran- 
cis in  Florence.  Ferdinand  de'  Medici  was  so 
charmed  with  it  that  he  bought  it  and  gave  the 
Franciscans  a  copy.  It  is  one  of  Andrea's  best 
works  and  the  most  beautiful  of  all  his  Madon- 
nas, which  is  a  portrait  of  his  wife. 

"  The  beauty  of  this  picture  is  beyond  praise — dignified, 
harmonious,  luminous.  The  Virgin  stands  on  a  low  pedes- 
tal, one  arm  supporting  the  Holy  Child,  who  clings  to 
her  neck  with  a  movement  of  exquisite  grace;  her  other 
hand  holds  a  book  upon  which  the  Child  has  placed  a  foot; 
on  either  side  stand  St.  Francis  and  St.  John  the  Evange- 
.list.  Two  child  angels  cling  to  the  Madonna's  feet ;  on  the 
pedestal  below  are  carved  harpies  who  have  given  their 
name  to  the  picture." — (H.  G.) 

Fra  Bartolommeo's  Virgin  Enthroned  with 
St.  Anna  was  left  unfinished,  otherwise  it  would 
have  been  his  masterpiece.  It  is  but  a  sketch  in 
bistre.  St.  Anna  stands  beside  the  Virgin  praying 
to  the  Trinity,  and  on  the  left  and  right  of  the 
throne  are  the  ten  tutelary  saints  of  Florence,  St. 
Reparata  being  particularly  fine.  Among  the  eight 
Dominican  monks  the  painter  has  portrayed  him- 
self. The  boy-angels  on  the  steps  of  the  throne  are 
worthy  of  Raphael. 

Albertinelli's  Visitation  is  a  simple  and  grand 
picture,  with  a  predella  depicting  the  Annuncia- 
tion, Nativity  and  Circumcision.' 

"  The  Virgin  bends  slightly  forward  as  Elizabeth  steps 
up  to  take  her  hand.  The  arrangement  of  the  two  figures 


410  THE  UFFIZI 

is  natural  and  noble,  the  drawing  and  the  expression  ex- 
cellent. The  drapery  is  admirably  arranged  and  the  white 
handkerchief  on  the  head  of  Elizabeth  is  managed  with 
great  skill  so  as  not  to  attract  the  eye  or  divert  attention 
from  her  face,  which  is  in  shade.  The  figure  of  Elizabeth 
is  singularly  beautiful." — (K.  K.) 

In  Filippo  Lippi's  Virgin  and  Child  the  Vir- 
gin is  Lucretia  Buti. 

"  The  Virgin  is  seated  in  a  window  with  a  pleasing  land- 
scape in  the  distance,  composed  of  rocks  and  trees,  a 
winding  river  and  the  sea-shore ;  two  boy-angels  bear  the 
Infant  Christ  to  his  mother.  She  is  seen  in  profile,  and 
her  face  is  that  of  a  fair  young  girl ;  her  hands  are  clasped 
reverently  and  her  eyes  cast  down,  as  she  accepts  the  gift 
without  surprise  or  elation.  The  Child  extends  his  arms 
towards  her;  one  of  the  angels  looks  back  laughing,  as  in 
triumph.  Although  the  heads  here  are  without  idealistic 
beauty,  the  artist  has  given  a  tender  expression  and  youth- 
ful freshness  to  his  representation  of  the  Virgin,  which 
has  a  charm  apart  from  perfection  of  form  and  figure." — 
(S.  and  J.  H.) 

One  of  the  most  beautiful  works  the  painter- 
monk  ever  executed  is  the  Coronation  of  the 
Virgin. 

"  Quite  unearthly  is  the  Coronation  of  the  Virgin ;  the 
Madonna  crossing  her  arms  meekly  on  her  bosom  and 
bending  in  humble  awe  to  receive  the  crown  of  heaven,  is 
very  lovely, — the  Saviour  is  perhaps  a  shade  less  excellent ; 
the  angels  are  admirable,  and  many  of  the  assistant  saints 
full  of  grace  and  dignity, — but  the  characteristic  of  the  pic- 
ture is  the  flood  of  radiance  and  glory  diffused  over  it,  the 
brightest  colours — gold,  azure,  pink,  red,  yellow — pure, 
unmixed,  yet  harmonizing  and  blending  like  a  rich  burst 
of  wind-music,  in  a  manner  incommunicable  in  recital — 
distinct  and  yet  soft,  as  if  the  whole  scene  were  mirrored 
in  the  sea  of  glass'that  burns  before  the  throne." — (L.  V.) 

The  Virgin  and  Child,  surrounded  by  twelve 


FLORENCE  411 

angels — two  of  them  in  attitudes  of  homage  and 
the  rest  playing  on  musical  instruments — is  one  of 
the  few  works  of  Era  Angelico  the  date  of  which 
is  known ;  and  with  its  wing  pictures,  representing 
St.  John  the  Baptist  and  St.  Mark  on  the  inside 
and  St.  Mark  and  St.  Peter  on  the  outside,  and  its 
predella,  is,  perhaps,  the  best  of  all  his  composi- 
tions. It  was  painted  in  1433  for  the  Company  of 
Flax  Merchants,  whose  patron  saint  was  Mark. 
The  figures  are  painted  on  a  gold  ground,  and 
the  angels  are  particularly  beautiful. 

The  predella  to  this  work,  consisting  of  the 
Adoration  of  the  Magi,  with  an  especially  lovely 
Virgin,  as  the  central  picture ;  St.*  Peter  preaching 
and  St.  Mark  writing  his  Gospel,  on  the  left ;  and 
the  Martyrdom  of  St.  Mark  on  the  right  are  ranked 
among  Fra  Angelico's  most  exquisite  works. 

His  Marriage  of  the  Virgin  (a  predella)  con- 
tains twenty-two  figures  beautifully  grouped  and 
very  animated.  All  the  colours  are  lovely,  par- 
ticularly the  rose-hued  mantles  of  the  Virgin  and 
St.  Joseph.  The  latter  carries  a  flowering 
branch  on  which  is  perched  a  dove.  Correggio 
has  a  beautiful  Virgin  and  Child  in  the  open  air. 

"  The  Virgin  is  enveloped  in  a  mantle  in  a  peculiar 
way;  it  is  bunched  up  from  the  waist,  and  thrown  over  the 
head  like  a  veil,  one  of  the  falling  flaps  serving  as  a  sup- 
port for  the  Child.  This  idea,  which  has  been  censured  and 
considered  to  be  an  invention  of  Correggio's,  is  not  new : 
it  is  found  in  paintings  of  the  Florentine  and  German 
Schools,  and  also  in  a  picture  of  the  Veronese  master, 
Girolamo  dai  Libri.  There  is  something  almost  playful 
in  the  arrangement  of  the  rich  voluminous  garment  which 
is  made  to  occupy  so  prominent  a  place  in  this  picture. 
The  smiling  Madonna  bends  playfully  over  the  charming 
little  being  lying  before  her,  with  her  elegant  hands 
clasped  in  adoration,  and,  like  some  beautiful  idyl,  the 


412  THE   UFFIZI 

whole  is  set  in  a  lovely  landscape,  which  blinds  effectively 
the  beauty  of  the  southern  scenery  with  the  stateliness  of 
Classical  architecture.  A  full  light  is  thrown  over  the  In- 
fant Jesus  and  the  Madonna,  and  gradually  toned  off 
towards  the  background.  The  effect  produced  is  almost 
as  if  the  figures  emitted  their  own  radiance,  which  grew 
fainter  and  fainter  till  at  last  dissolved  into  space." — 
(J.  M.) 

Correggio's  Repose  on  the  Flight  into  Egypt 
is  an  early  work,  showing  the  straw-colour  peculiar 
to  Dosso  Dossi  and  Garofalo.  The  Virgin's  face 
is  very  spirited.  Authorities  disagree  as  to  whether 
this  is  Correggio's  own  work,  but  all  believe  that 
the  composition  is  his. 

"  Here  for  the  first  time,  the  scene  becomes  the  charm- 
ing genre  picture,  which  before  this  time  has  not  been  the 
case  with  the  realists  of  the  Fifteenth  Century  in  spite  of 
all  the  triits  taken  from  reality.  The  colouring  is  un- 
equal, in  parts  wonderfully  finished." — (J.  B.) 

Correggio's  Madonna  and  Child  with  Angel 
Musicians  is  also  a  youthful  work,  though  exqui- 
site in  colour  and  finish.  It  has  been  attributed  by 
some  critics  to  Titian. 

One  of  the  Sienese  Sodoma's  best  works  is  St. 
Sebastian,  which  is  considered  the  most  beauti- 
ful example  of  this  subject  in  all  painting.  It 
was  painted  for  a  banner  for  the  Brotherhood  of 
St.  Sebastian. 

"  Gifted  with  an  exquisite  feeling  for  the  beauty  of  the 
human  body,  Sodoma  excelled  himself  when  he  was  con- 
tented with  a  single  figure.  His  St.  Sebastian,  notwith- 
standing its  wan  and  faded  colouring,  is  still  the  very  best 
that  has  been  painted.  Suffering,  refined  and  spiritual, 
without  contortion,  or  spasm,  could  not  be  presented  with 
more  pathos  in  a  form  of  more  surpassing  loveliness.  This 
is  a  truly  demonic  picture  in  the  fascination  it  exercises 
and  the  memory  it  leaves  upon  the  mind.  Part  of  its 


VIRGIN  AND   CHILD— Correggio 

UFFIZI 


THE  TRANSFIGURATION— Raphael 

THE    VATICAN 


FLORENCE  413 

unanalysable  charm  may  be  due  to  the  bold  thought  of 
combining  the  beauty  of  a  Greek  Hylas  with  the  Christian 
sentiment  of  martyrdom.  Only  the  Renaissance  could 
have  produced  a  hybrid  so  successful,  because  so  deeply 
felt."— (J.  A.  S.) 

Mantegna's  Madonna  and  Child  in  a  Rocky 
Landscape  was  painted  during  his  Roman  period. 
The  detail  is  marvellous  and  the  whole  work  a 
specimen  of  delicate  miniature  painting. 

"  It  is  surprising  that  Andrea  should  have  compelled 
his  usually  hard  and  rugged  pencil  to  so  much  softness. 
The  Virgin  sits  on  a  stone  supporting  the  sleeping  Infant 
upon  her  knee,  her  glance  downcast,  tender  and  mournful; 
she  seems  to  hush  the  half-dying  and  flexible  child  into 
slumber;  about  her  a  fine  cast  of  sculptural  drapery;  be- 
hind a  rugged  shred  of  rock  tunnelled  by  quarrymen;  a 
road  with  shepherds  and  their  flocks,  a  distant  hill  and  a 
castle — for  Mantegna's  stern  habits  a  wonderfully  tender 
performance." — (C.  and  C.) 

In  different  style  but  one  of  the  artist's  most 
carefully  finished  works  is  his  triptych  representing 
the  Adoration  of  the  Magi  in  the  centre  with  the 
Circumcision  on  the  right  panel  and  the  Ascen- 
sion on  the  left.  The  high  lights  are  heightened 
with  gold  and  all  three  pictures  are  greatly  ad- 
mired by  all  critics. 

"  A  triptych,  the  central  part  slightly  concave — the 
Adoration  of  the  Magi,  the  Circumcision  and  the  Ascen- 
sion— is  another  specimen  of  solemn  grandeur  of  concep- 
tion combined  with  the  minutest  finish, — Mantegna's  finish 
never  being  mere  labour,  but  simply  the  conscientious  sat- 
isfaction of  the  keenest  eye  and  most  intelligent  hand." — 
(A.  H.  L.) 

One  of  Cristofano  Allori's  most  attractive  pic- 
tures is  the  Infant  Jesus  Sleeping  on  the  Cross, 
much  in  the  style  of  Correggio. 

"  On  the  parted  lips  there  is  a  placid  smile,  which  seems 


414  THE  UFFIZI 

to  tell  of  happy  dreams,  or,  according  to  the  old  super- 
stition, the  angels  are  whispering  to  the  Child;  the  little 
arms  are  folded  on  the  breast,  and  the  peaceful  land- 
scape background  harmonises  well  with  the  subject."— 
(S.  and  J.  H.) 


The  Madonna  and  Child,  enthroned  and  ac- 
companied by  John  the  Baptist  and  St.  Sebastian, 
is  a  beautiful  example  of  Perugino.  The  group  is 
placed  under  the  vaulted  arch  resting  on  square 
pillars  of  which  the  painter  was  so  fond.  The 
faces  of  the  Virgin  and  St.  Sebastian  are  partic- 
ularly beautiful  in  expression. 

Perugino's  splendid  portrait  of  Francesco  delle 
Opere,  representing  a  clean-shaven  man  with 
bright  eyes  and  bushy  hair  with  a  roll  in  his  hand 
on  which  is  inscribed  "  Timete  Deum,"  long 
passed  for  a  portrait  of  the  painter  himself.  The 
landscape  in  the  background  is  particularly  fine. 

Domenichino's  Cardinal  Agucchia  is  also 
seated  in  an  arm-chair,  wearing  red  robe  and 
camail  and  white  rochet,  leaning  his  right  hand 
that  holds  his  cap  on  the  arm  of  the  chair,  and 
w'ith  the  left  is  about  to  lift  a  bell  that  is  stand- 
ing on  the  table  near  a  letter. 

Portraits  of  Federigo  di  Montefeltro  and  his 
wife,  Battista  Sforza,  by  Piero  della  Francesca, 
are  extraordinary  works.  On  the  back  is  a  repre- 
sentation of  these  two  personages  seated  in  trium- 
phal cars,  the  horses  of  which  are  splendidly  drawn. 
This  allegory  is  accompanied  with  complimentary 
verses. 

"  This  work  is  a  landmark  in  the  progress  of  art.  It  is 
executed  with  the  utmost  precision  of  drawing  and  minute- 
ness and  softness  of  method.  It  is  remarkable  for  the 
beauty  of  the  landscape  backgrounds  in  which  he  dis- 


FLORENCE  415 

plays  his  knowledge  of  aerial  perspective.  These  master- 
pieces of  the  artist  were  finished  as  early  as  1472.  They 
are  the  more  interesting  from  the  history  of  the  persons 
represented.  The  ancestors  of  Federigo  were  the  two 
Montefeltri,  mentioned  by  Dante.  Federigo  was  created 
Duke  of  Urbino  by  Sixtus  IV.,  when  the  Pope's  nephew, 
Giovanni  della  Rovere,  married  Federigo's  second  daughter. 
Federigo  was  distinguished  as  a  soldier  and  as  a  patron 
of  arts  and  letters.  The  depression  in  his  nose  was  caused 
by  a  wound  received  in  battle.  His  wife  was  celebrated 
for  her  learning  as  well  as  beauty.  She  died  when  only 
twenty-six  years  old." — (K.  K.) 

Two  works  by  Angelo  Bronzino  claim  attention 
— Bartolommeo  Panciatichi  and  his  wife.  The 
former  is  standing  in  a  gallery,  full  face,  his  left 
arm  resting  on  a  console,  beneath  which  a  dog  is 
standing.  His  hair,  beard,  and  moustache  are 
blonde  set  off  to  advantage  by  the  black  cap  with 
plume  and  black  doublet  with  sleeves  of  cerise. 
The  fingers  of  his  right  hand  lightly  rest  between 
the  leaves  of  a  book. 

His  wife,  Lucrezia  dei  Pucci,  is  seated  in  an 
arm-chair,  her  right  hand  resting  on  an  open  book 
on  her  lap.  She  wears  a  red  dress  with  violet 
sleeves,  and  a  pearl  necklace  with  pendant,  gold 
chain  and  silver  belt. 

"  Bronzino  painted  for  Panciatichi  two  portraits — his 
wife  and  himself — so  natural  that  they  seemed  to  be  alive. 
They  lacked  only  breath." — (V.) 

Sustermans's  Galileo,  representing  the  great 
astronomer,  dressed  in  black  with  white  hair  and 
white  moustache,  was  considered  by  his  contem- 
poraries a  marvel  of  portraiture. 

Clouet's  Francis  I.  in  armour,  with  green  cap 
and  white  plumes  and  mounted  on  a  richly  capari- 


4i6  THE   UFFIZI 

soned  horse,  and  Holbein's  Richard  Southwell 
are  included  among  the  most  famous  portraits. 

In  the  Gallery  of  Painters  by  themselves,  the 
most  remarkable  examples  are  perhaps  Raphael, 
Holbein,  Van  Dyck,  Pourbus  the  Elder,  Rubens, 
Rembrandt,  Reynolds,  Watts  and  Ingres. 

Laneret's  Flute  Player,  catalogued  to  Watteau, 
a  beautiful  landscape  where  men,  women  and  chil- 
dren are  amusing  themselves,  is  one  of  the  choice 
works. 

Durer's  Adoration  of  the  Magi  is  his  first  im- 
portant easel-painting. 

"  Mary  sits  on  the  left,  looking  like  the  happiest  of 
German  mothers,  with  the  enchantingly  naive  Infant  on 
her  knees ;  the  three  Wise  Men  from  the  East  in  magnifi- 
cent dresses  glittering  with  gold,  approach,  deeply  moved, 
and  with  various  emotions  depicted  on  their  countenances, 
while  the  whole  creation  around  seems  to  share  their  joy- 
ous greeting,  even  to  the  flowers  and  herbs,  and  to  the 
great  stag-beetle  and  two  white  butterflies,  which  are  in- 
troduced after  the  manner  of  Wolgemut.  The  sunny 
green  on  copse  and  mountain  throws  up  the  group  better 
than  the  conventional  nimbus  could  have  done.  The  fair- 
haired  Virgin,  draped  entirely  in  blue,  with  a  white  veil, 
recalls  vividly  the  same  figure  in  the  Paumgartner  altar- 
piece.  Aerial  and  linear  perspectives  are  still  imperfect,  but 
the  technical  treatment  of  the  figures  is  as  finished  as  in 
Durer's  best  pictures  of  the  later  period." — (M.  T.) 

In  the  Virgin  of  the  Cornflower  the  Ma- 
donna is  enveloped  in  a  rose-coloured  garment  with 
fair  hair  falling  on  her  shoulders.  She  holds  an 
apple  in  her  left  hand,  and  with  her  right  supports 
the  Infant,  who  has  a  blue  cornflower  in  his  left 
hand. 

"  The  Child  is  looking  to  the  right  with  an  anxious  ex- 
pression on  His  face,  and  the  upper  part  of  His  head  is 
extraordinarily  large,  while  His  limbs  are  small.  The 


FLORENCE  417 

features  of  the  mother  are  noble  and  elevated,  but  without 
any  depth  of  expression." — (M.  T.) 

Durer's  Portrait  of  his  Father,  painted  in  his 
nineteenth  year,  in  1490,  is  a  remarkable  work  for 
any  master  at  any  age. 

"  The  face  and  the  hands,  which  hold  a  red  rosary,  are 
wonderfully  life-like;  the  expression  is  one  of  dignified 
earnestness  and  kindly  repose,  with  strong  lines  of  deter- 
mination about  the  mouth;  and  the  eyes,  small  indeed,  but 
clear  and  intelligent,  look  out  upon  the  world  with  a  keen 
glance  that  seems  to  interrogate  the  future.  The  painting 
is  unusually  broad  and  vigorous." — (M.  T.) 

The  Uffizi  is  particularly  strong  in  the  Little 
Dutch  Masters,  the  most  striking  specimens  of 
which  are  Dow's  Pancakes,  Ter  Borch's  Lady 
Drinking,  Steen's  Family  Feast  and  Metsu's 
Lady  and  Huntsman  and  Lute  Player. 


THE  VATICAN 
ROME 

ON  March  28,  1909,  Pius  X.  formally  opened  the 
new  picture  gallery  of  the  Vatican,  the  expense  of 
which  he  bore  personally,  in  the  left  wing  of  the 
Vatican.  Of  the  three  hundred  pictures  gathered 
here,  about  sixty  were  brought  from  the  old  Vati- 
can Gallery  (founded  by  Pius  VII.),  and  the 
others  from  the  Lateran  Palace,  the  Vatican  Li- 
brary, and  the  private  apartments  and  other 
rooms  of  the  Vatican. 

The  greatest  treasure  in  the  collection  is  Raph- 
ael's Transfiguration,  which  has  been  called 
"  the  grandest  picture  in  the  world."  It  was  or- 
dered by  Cardinal  Giulio  de'  Medici  (afterwards 
Clement  VII.)  for  the  Cathedral  of  Narbonne. 
Raphael  was  at  work  upon  it  when  he  died  and  it 
was  hung  over  his  couch  as  he  lay  in  state,  and 
carried  in  his  funeral  procession.  In  the  following 
year  Giulio  Romano  completed  the  unfinished  part 
and  the  Cardinal  presented  the  work  to  the  Church 
of  San  Pietro  in  Montorio,  sending  in  its  place  the 
Raising  of  Lazarus,  by  Sebastian  del  Piombo, 
now  in  the  National  Gallery,  London  (see  p.  17). 
The  Transfiguration  was  carried  off  by  the 
French  to  Paris  in  1797  and  hung  in  the  Louvre. 
When  returned  to  Italy  in  1815,  it  was  placed  in 
the  Vatican. 

"  If  we  remove  to  a  certain  distance  from  it,  so  that  the 
forms  shall  become  vague,  indistinct,  and  only  the  masses 
of  colour  and  the  light  and  shade  perfectly  distinguishable, 
418 


ROME  419 

we  shall  see  that  the  picture  is  indeed  divided  as  if  hori- 
zontally, the  upper  half  being  all  light,  and  the  lower  half 
comparatively  all  dark.  As  we  approach  nearer,  step  by 
step,  we  behold  above,  the  radiant  figure  of  the  Saviour 
floating  in  mid  air,  with  arms  outspread,  garments  of  trans- 
parent light,  glorified  visage  upturned  as  in  rapture,  and 
the  hair  uplifted  and  scattered  as  I  have  seen  it  in  persons 
under  the  influence  of  electricity.  On  the  right,  Moses ; 
on  the  left,  Elijah;  representing,  respectively,  the  old  law 
and  the  old  prophecies,  which  both  testified  of  Him.  The 
three  disciples  lie  on  the  ground,  terror-struck,  dazzled. 
There  is  a  sort  of  eminence  or  platform,  but  no  perspec- 
tive, no  attempt  at  real  locality,  for  the  scene  is  revealed 
as  in  a  vision,  and  the  same  soft  transparent  light  envelops 
the  whole.  This  is  the  spiritual  life,  raised  far  above  the 
earth,  but  not  yet  in  heaven.  Below  is  seen  the  earthly 
life,  poor  humanity  struggling  helplessly  with  pain,  infirm- 
ity, and  death.  The  father  brings  his  son,  the  possessed, 
or,  as  we  should  now  say,  the  epileptic  boy,  who  ofttimes 
falls  into  the  water  or  into  the  fire,  or  lies  grovelling  on 
the  earth,  foaming  and  gnashing  his  teeth ;  the  boy  strug- 
gles in  his  arms — the  rolling  eyes,  the  distorted  features, 
the  spasmodic  limbs  are  at  once  terrible  and  pitiful  to 
look  on. 

"  Such  is  the  profound,  the  heart-moving  significance  of 
this  wonderful  picture.  It  is,  in  truth,  a  fearful  approxi- 
mation of  the  most  opposite  things ;  the  mournful  helpless- 
ness, suffering,  and  degradation  of  human  nature,  the  un- 
availing pity,  are  placed  in  immediate  contrast  with  spiritual 
light,  life,  hope — nay,  the  very  fruition  of  heavenly  rap- 
ture. 

"  It  has  been  asked,  who  are  the  two  figures,  the  two 
saintly  deacons,  who  stand  on  each  side  of  the  upper 
group,  and  what  have  they  to  do  with  the  mystery  above, 
or  the  sorrow  below  ?  Their  presence  shows  that  the  whole 
was  conceived  as  a  vision,  or  a  poem.  The  two  saints  are 
St.  Lawrence  and  St.  Julian,  placed  there  at  the  request  of 
the  Cardinal  de'  Medici,  for  whom  the  picture  was  painted, 
to  be  offered  by  him  as  an  act  of  devotion  as  well  as  munifi- 
cence to  his  new  bishopric;  and  these  two  figures  com- 
memorate in  a  poetical  way,  not  unusual  at  the  time,  his 
father,  Lorenzo,  and  his  uncle,  Giuliano  de'  Medici.  They 


420  THE   VATICAN 

would  be  better  away;  but  Raphael,  in  consenting  to  the 
wish  of  his  patron  that  they  should  be  introduced,  left  no 
doubt  of  the  significance  of  the  whole  composition — that 
it  is  placed  before  worshippers  as  a  revelation  of  the 
double  life  of  earthly  suffering  and  spiritual  faith,  as 
an  excitement  to  religious  contemplation  and  religious 
hope."-(A.  J.) 

The  Madonna  di  Foligno  was  ordered  by 
Sigismondo  Conti  for  the  church  of  Ara  Cceli  and 
removed  to  Foligno  in  1565,  when  his  niece  took 
the  veil  at  the  convent  of  St.  Anna,  founded  by 
the  Conti.  It  was  carried  off  by  the  French  and 
while  in  Paris  was  transferred  to  canvas.  A  fall- 
ing bomb  indicates  that  the  donor  offered  this 
in  thanksgiving  for  his  escape  during  a  siege  of 
his  native  Foligno,  which  appears  in  the  land- 
scape background.  This  picture  is  considered 
one  of  the  most  brilliant  examples  of  the  Italian 
brush. 

"  In  the  opening  skies,  the  Virgin  and  the  Infant  Jesus 
appear  in  the  middle  of  a  circle  glittering  with  light,  out- 
side of  which  an  innumerable  company  of  angels  is  throng- 
ing. On  the  earth,  transfigured  by  the  radiation  of  the 
eternal  beams,  the  donor  contemplates  the  divine  vision,  in 
company  with  St.  John  the  Baptist,  St.  Francis  of  Assisi 
and  St.  Jerome,  who  are  recommending  his  prayers  to 
the  Virgin  and  Saviour.  One  angel,  detached  from  the 
celestial  train,  also  adds  his  voice  to  those  of  the  saints, 
and  holds  a  tablet  on  which  was  to  be  mentioned  the 
destination  of  the  picture. 

"  TJ^JVirgin  is  there  as  the  intermediary  between  man 
and  God,  at  the  same  time  reflecting  human  suffering  and 
divine  splendour.  The  vesture  is  one  of  rigorous  chastity; 
for  a  robe  of  beautiful  clear  red,  and  a  mantle  of  almost 
equally  clear  blue  form  the  whole.  The  robe,  very  mod- 
estly cut,  leaves  the  neck  bare  to  the  beginning  of  the 
shoulders,  and  severely  envelops  the  breast  and  arms; 
the  bodice  is  trimmed  with  a  gold  embroidery  that  gives  a 
truly  royal  appearance  to  that  humble  purple. 


ROME  421 

"  From  the  pictorial  point  of  view,  the  Infant  in  the 
Foligno  Madonna  is  in  perfect  accord  with  his  Mother :  he 
is  held  to  her  by  the  strictest  bonds  and  seems  almost  to 
form  one  with  her ;  but  he  remains  more  exclusively  than 
she  confined  within  the  domains  of  sensible  form,  and 
does  not  at  once  arouse  that  great  idea  of  Godhead  that 
Raphael  is  soon  to  give  its  highest  expression  in  the 
Sistine  Madonna. 

"  The  Infant  Jesus  has  heard  the  prayer  of  the  donor, 
and  hastens  to  meet  him.  His  arms  are  outstretched  and 
with  his  hands  he  opens  his  Mother's  veil.  Ready  to 
spring  forward,  he  is  held  back  only  by  the  red  scarf  that 
girds  his  body  and  is  held  by  the  Virgin's  right  hand. 

"  Above  the  clouds  that  form  the  aerial  throne  of  the 
Virgin,  and  beyond  the  circle  of  golden  light  surrounding 
the  divine  group,  the  eye  loses  itself  in  the  midst  of  a 
glory  formed  by  a  gathering  of  the  most  beautiful  angels. 
These  mysterious  infants  that  throng  around  the  Virgin 
and  the  Word  swim  in  an  atmosphere  of  an  inexpressibly 
soft  azure.  Some  are  pushing  aside  the  clouds,  to  get  a 
better  view  of  the  divine  spectacle;  others  give  themselves 
up  to  prayer,  or  abandon  themselves  to  ecstasy;  some 
with  closed  eyes,  seem  in  their  sleep  to  be  visited  by 
celestial  dreams;  and  others  are  embracing  one  another 
in  fervour  and  love. 

"  Below  the  Virgin  and  the  Infant  Jesus,  and  between 
St.  John  the  Baptist  and  St.  Francis,  St.  Jerome  and  the 
donor,  a  full-face  angel  is  standing,  with  his  head  and 
eyes  raised  towards  the  Madonna.  With  both  hands  he 
holds  a  tablet  the  inscription  of  which  has  long  disap- 
peared, if  it  was  ever  written.  (No  author  makes  any 
mention  of  it.)  In  painting  this  little  figure,  Raphael  has 
taken  pleasure  in  displaying  all  the  contrasts  of  his  art. 
The  beauty  of  the  face,  the  purity  of  the  lines,  the  fervour 
of  the  features,  the  arrangement  of  the  hair  and  the  wings, 
the  truth  and  simplicity  of  the  nude,  the  strength  of  the 
modelling,  the  brilliance  of  the  light  and  the  harmony  of 
the  chiaroscuro?  all  this  is  inimitable  and  adds  to  this 
work,  which  is  otherwise  so  complete  and  so  marvellous, 
^particularly  just  and  sentimental  note. 

"  Lastly,  what  is  quite  as  marvellous  in  this  picture  is 
the  atmosphere  and  the  landscape.  The  sun  sheds  its  pure 
and  warm  rays  over  the  earth  transfigured  by  the  presence 


422  THE   VATICAN 

of  the  Virgin  and  the  Word.  From  the  blade  of  grass 
and  the  meadow  flower  dotting  the  foreground  to  the  sum- 
mits of  the  far  horizon  and  even  up  to  the  sky,  all  is  full 
of  the  glory  of  God.  The  saints,  the  donor  and  the  angel 
stand  upon  ground  that  has  nothing  unreal  in  it;  but  be- 
yond the  foreground,  the  apotheosis  begins,  and  everything 
seems  to  be  bathed  in  an  ocean  of  azure.  The  eye  then 
loses  itself  among  ideal  meadows,  gently  undulating,  fur- 
rowed by  streams,  and  shadowed  by  tints  of  infinite  sweet- 
ness. On  these  meadows  a  flock  of  sheep  is  led  by  a 
shepherd ;  two  persons  are  in  conversation ;  and  a  knight 
is  travelling,  preceded  by  an  attendant.  Farther  away,  a 
city  piles  its  monuments,  temples,  and  ruins  one  above 
another.  Woods  add  to  the  mysterious  beauty  of  this  city 
which  nestles  against  the  sides  of  high  peaks,  the  sum- 
mits of  which  are  lost  in  the  clouds.  The  rainbow,  with 
irised  fires,  serves  as  aureole  for  this  immensity,  in  the 
midst  of  which  the  vibrations  of  an  intense  light  make  the 
sweetest  and  most  brilliant  melodies  audible." — (F.  A.  G.) 

In  Raphael's  Coronation  of  the  Virgin,  with 
its  predella  depicting  the  Annunciation,  Adora- 
tion of  the  Magi  and  Presentation  in  the 
Temple, 

"  we  see  for  the  first  time  what  Perugino's  style  could 
reach ;  how  different,  how  far  superior  to  his  master  is 
Raphael  in  the  whole  result,  in  the  divine  purity  with 
which  he  expresses  tender  devotion,  beautiful  youth  and 
inspired  old  age,  besides  that,  he  is  already  far  more  re- 
fined in  drawing  and  drapery." — (J.  B.) 

His  Faith,  Hope  and  Charity,  circular  medal- 
lions in  bistre,  formed  the  predella  to  the  En- 
tombment in  the  Borghese  Gallery. 

Raphael  designed  the  Madonna  di  Monte  Luco, 
which  was  painted  by  Francesco  Penni  and 
Giulio  Romano.  The  former  executed  the  lower 
portion,  representing  the  apostles  and  the  tomb  of 
the  Virgin  filled  miraculously  with  blooming  hearts- 


ROME  423 

ease  and  ixias ;  and  the  latter  is  responsible  for  the 
upper  part  depicting  the  Virgin  and  angels. 

The  authorship  of  the  Resurrection  is  still  a 
puzzle  to  critics.  According  to  tradition,  Peru- 
gino  painted  Raphael  as  one  of  the  sleeping 
soldiers,  and  Raphael  painted  Perugino  in  the  back- 
ground. 

"  Vasari  ascribes  it  to  Perugino ;  Orsini  suggests  that 
Raphael  had  a  hand  in  it;  Crowe  gives  it  entirely  to 
Raphael  as  an  early  work;  and  Morelli  ascribes  it  entirely 
to  the  hand  of  Lo  Spagna.  In  the  midst  of  so  many  con- 
flicting theories,  it  may  be  allowable  for  me  to  agree  with 
Vasari.  It  is  not  very  likely  that  in  all  his  work  Peru- 
gino would  preserve  the  same  level  of  beauty.  The 
figure  of  the  Saviour  is  inaccurate  and  badly  drawn,  the 
face  is  quite  unsatisfactory,  the  mandorla  clumsy  and 
rigid,  the  angels  poor  and  lacking  in  expression,  and  their 
draperies  feeble.  The  colouring  of  the  picture,  the  land- 
scape, the  faces  and  hands,  the  wonderful  detail,  the  com- 
position, the  balance  and,  above  all,  the  technique,  speak 
to  me  strongly  of  the  master,  to  whom  I  ascribe  the  pic- 
ture unhesitatingly.  I  can  see  no  hand  of  Raphael  in  it, 
and  while  I  see  no  special  reason  for  our  crediting  the 
story  that  gives  the  sleeping  soldier  on  the  right  the  face 
of  Raphael,  yet  even  that  statement  but  renders  it  less 
likelv  that  Raphael  had  a  hand  in  the  picture  itself." — (G. 
C.  W.) 

The  Madonna  Enthroned  is  a  lovely  work  of 
Perugino's  early  period.  Beneath  the  throne 
stand  four  noble  saints — Herculanus,  .Constantius, 
Lawrence  and  Louis  of  Toulouse — patrons  of 
Perugia,  all  richly  dressed. 

"  The  picture  is  exquisitely  beautiful,  full  of  Perugino's 
special  charm,  and  bearing  marks  of  the  Piero  della  Fran- 
cesca  influence  in  the  arches  that  support  the.  canopy, 
while  below  the  feet  of  the  Madonna,  to  make  quite  clear 
as  to  who  painted  the  picture,  is  the  signature  in  some- 
what remarkable  form — Hoc  Petrus  de  Chastro  Plebis 
Pinxit."—(G.  C.  W.) 


424  THE   VATICAN 

Ranking  almost  with  Raphael's  Transfigura- 
tion is  Domenichino's  masterpiece,  the  Com- 
munion of  St.  Jerome,  painted  for  the  monks  of 
Ara-Cceli,  who  quarrelled  with  the  painter  and 
suppressed  the  picture.  Some  time  afterwards 
they  ordered  Poussin  to  paint  an  altar-piece  and 
gave  him  this  canvas  to  paint  upon.  Poussin  re- 
fused and  made  its  existence  known  to  the  world. 

"  The  aged  saint, — feeble,  emaciated,  dying, — is  borne  in 
the  arms  of  his  disciples  to  the  chapel  of  his  monastery 
and  placed  within  the  porch.  A  young  priest  sustains 
him ;  St.  Paula,  kneeling,  kisses  one  of  his  thin  bony  hands ; 
the  saint  fixes  his  eager  eyes  on  the  countenance  of  the 
priest,  who  is  about  to  administer  the  Sacrament, — a  noble, 
dignified  figure  in  a  rich  ecclesiastical  dress ;  a  deacon 
holds  the  cup  and  an  attendant  priest,  the  book ;  the  lion 
droops  his  head  with  an  expression  of  grief;  the  eyes  and 
attention  of  all  are  on  the  dying  saint,  while  four  angels, 
hovering  above  look  down  upon  the  scene." — (A.  J.) 

Another  masterpiece  is  Leonardo's  St.  Jerome, 
but  very  differently  treated.  This  is  painted  in 
bistre,  and  corresponds  in  character  with  the 
Adoration  of  the  Magi  (Uffizi). 

"  The  St.  Jerome  inspires  the  beholder  with  a  feeling  of 
surprise  that  Leonardo  should  have  been  at  so  little  pains 
to  convey  the  idea  of  a  weather-beaten  hermit.  On  the 
contrary,  we  are  shown  the  kneeling  figure  of  a  comely 
old  gentleman  with  the  refined  features  of  a  philosopher, 
against  a  background  of  rocky  landscape  which  shows  up 
the  alabaster  whiteness  of  his  skin." — (R.  M.) 

One  of  Titian's  most  beautiful  "  Holy  Conversa- 
tion "  pictures  is  his  Madonna  and  Saints,  rep- 
resenting St.  Nicholas  in  full  episcopal  costume; 
St.  Peter  with  a  book;  St.  Catherine,  who  is  very 
beautiful ;  St.  Francis ;  St.  Anthony  of  Padua ;  and 
St.  Sebastian. 


LAST  COMMUNION  OF  ST.  JEROME—  Domenichino 
THE  VATICAN 


THE    MAGDALEN— Guercino 

NAPLES 


ROME  425 

"  In  this  picture  there  are  three  stages,  the  same  as  in 
the  Transfiguration.  Below,  saints  and  martyrs  are  repre- 
sented in  suffering  and  abasement;  on  every  face  is  de- 
picted sadness,  nay,  almost  impatience :  one  figure  in  rich 
episcopal  robes  looks  upwards,  with  the  most  eager  and 
agonized  longing,  as  if  weeping,  but  he  cannot  see  all  that 
is  floating  above  his  head,  but  which  we  see  standing  in 
front  of  the  picture.  Above,  Mary  and  her  Child  are  in  a 
cloud,  radiant  with  joy  and  surrounded  by  angels  who  have 
woven  many  garlands :  the  Holy  Child  holds  one  of  these, 
and  seems  as  if  about  to  crown  the  saints  beneath,  but 
his  Mother  withholds  his  hand  for  the  moment.  The  con- 
trast between  the  pain  and  the  suffering  below,  whence  St. 
Sebastian  looks  forth  out  of  the  picture  with  gloom  and 
almost  apathy,  and  the  lofty  unalloyed  exaltation  in  the 
clouds  above,  where  crowns  and  palms  are  already  await- 
ing him,  is  truly  admirable.  High  above  the  group  of 
Mary  hovers  the  Holy  Spirit,  from  whom  emanates  a 
bright  streaming  light,  thus  forming  the  apex  of  the  whole 
composition." — (F.  M-B.) 

Crivelli's  Pieta,  a  lunette,  is  an  extraordinary 
combination  of  the  expression  of  emotion  and  dec- 
orative effect.  The  body  of  the  Saviour  is  tem- 
porarily resting  on  a  board  placed  across  the 
sarcophagus  and  covered  with  a  piece  of  brocade 
which  is  also  used  as  a  background  for  the  heads 
of  Christ  and  His  mother.  On  either  side  stand 
the  Magdalen  and  St.  John,  whose  faces  are  con- 
torted with  grief. 

"  The  accessories  are  superb  both  in  design  and  execu- 
tion. The  cherub  heads  are  meant  apparently  to  float  in 
the  air,  but  they  are  so  thickly  set  that  they  produce  the 
effect  of  a  background  of  burnished  metal — a  magnificent 
variety  for  the  ordinary  gold  field.  The  whole  picture  is 
extraordinarily  brilliant  in  colour  and  strong  in  relief." — 
(G.  McN.  R.) 

A  Pieta,  which  has  always  enjoyed  a  great  rep- 
utation, consisting  of  five  persons  dramatically 


426  THE   VATICAN 

posed,  the  most  striking  of  which  are  Christ  and 
Magdalen,  is  attributed  by  some  critics  to  Man- 
tegna  and  by  others  to  Montagna. 

St.  Petronilla  is  regarded  by  some  critics  as 
Guercino's  masterpiece. 

"  Here  is  represented  with  an  almost  Venetian  opulence 
of  splendid  costume  and  detail,  but  with  a  startlingly  pow- 
erful, if  somewhat  violent  and  scattered  chiaroscuro — de- 
vised from  Parmese  originals — the  disinterment  of  the 
fair  saint's  body  at  the  bidding  of  her  lover,  while,  in  the 
upper  part  of  the  canvas,  her  immortal  part,  still  sumptu- 
ously clad  in  mnndane  garments,  already  appears  kneeling 
in  Heaven  before  the  Saviour." — (C.  P.) 

One  of  the  most  important  works  of  the  whole 
Naturalist  school  is  Caravaggio's  Entombment. 

"  A  picture  wanting  in  all  the  characteristics  of  holy 
sublimity;  but  it  is  nevertheless  full  of  solemnity,  only 
perhaps  too  like  the  funereal  solemnity  of  a  gipsy  chief.  A 
figure  of  such  natural  sorrow  is  the  Virgin,  who  is  repre- 
sented as  exhausted  with  weeping,  with  her  trembling,  out- 
stretched hands,  has  seldom  been  painted.  Even  as 
mother  of  a  gipsy  chief,  she  is  dignified  and  touch- 
ing.''-^.) 

Andrea  Sacchi's  St.  Romualdo  requires  ex- 
planation. It  represents  the  dream  the  saint  had 
of  a  ladder  like  Jacob's,  uniting  heaven  and 
earth,  upon  which  he  saw  the  monks  of  his 
Order  ascending  by  twos  and  threes,  all  clothed 
in  white.  The  monks  in  their  robes  are  noble 
figures,  and  the  landscape  is  also  noteworthy. 

A  Repose  of  the  Holy  Family  in  Egypt,  by 
Baroccio,  is  natural  and  charming. 

"  The  right  part  of  the  picture  (the  Child,  the  ass,  and 
the  landscape)  is  particularly  good.  The  faces,  the  naked 
•  feet  of  the  Virgin  and  the  Child  recall  Correggio  and  the 
draperies  Tiepolo." — (M.  P.) 


ROME  427 

A  number  of  Byzantine  and  early  Italian  mas- 
ters are  grouped  in  one  room.  Here  we  find  a 
triptych,  dated  1371,  with  the  signature  Giovanni 
Bonsi,  of  Florence,  an  unknown  artist ;  and  a  fine 
Crucifixion,  attributed  to  Giotto.  Among  the 
Sienese  Primitives,  we  find  Christ  the  Redeemer 
on  a  gold  background,  by  Simone  Martini ;  and 
a  Crucifixion,  very  fine  in  colour,  by  Lippo 
Memmi.  There  are  also  several  works  by  the 
Lorenzetti;  two  scenes  of  the  Funeral  of  the 
Virgin,  by  Taddeo  di  Bartolo ;  and  one  rare  work 
by  his  master,  Bartolo  di  Fredi. 

Of  the  early  Florentine  School,  Lorenzo  Mon- 
aco and  his  pupils  occupy  the  place  of  honour.  He, 
himself,  has  a  Nativity  and  a  History  of  St. 
Benedict,  both  remarkable  for  their  transparent 
and  harmonious  tones.  A  beautiful  Madonna, 
by  Bernardo  Daddi,  holding  a  book  in  her  left 
hand,  is  particularly  attractive.  Among  many 
Madonnas  and  Saints  we  may  note  a  fine  triptych 
by  Allegretto  Nugi,  signed  and  dated  1365,  who  is 
probably  the  author  of  a  Madonna  and  Child, 
Dead  Christ,  and  a  very  fine  little  picture,  The 
Virgin  between  St.  John  the  Baptist  and  St. 
Catherine. 

The  Miracles  of  St.  Nicholas  de  Bari,  by  Gen- 
tile da  Fabriano,  or  his  pupils,  contains  one  in  par- 
ticular— the  Storm,  in  which  the  sea  and  sky  are 
marvellously  treated.  The  Miracles  of  St.  Hya- 
cinth, by  F.  Cossa,  also  deserves  study. 

Ottaviano  Nelli's  Marriage  of  St.  Francis  to 
Poverty,  and  Circumcision  should  be  noted,  as 
well  as  Francesco  di  Gentile's  Madonna  with  the 
Butterfly;  and  Antoniazzo  Romano's  Madonna 
della  Rota. 


428  THE   VATICAN 

The  second  room  (Fifteenth  Century)  is  largely 
devoted  to  Melozzo  da  Forli,  Fra  Angelico,  and  to 
their  pupils.  Conspicuous  is  the  famous  fresco  by 
Melozzo,  originally  in  the  Vatican  Library,  de- 
picting Platina,  the  historian  of  the  Popes  and 
prefect  of  the  Vatican  Library,  kneeling  before 
Pope  Sixtus  IV.,  behind  whom  are  his  nephews, 
Cardinal  Giovanni  della  Rovere  (afterwards 
Julius  II.)  and  Girolamo  Riario. 

"  This  fresco,  painted  in  the  most  severe  Paduan  style,  is 
very  interesting  on  account  of  the  distinctly  marked  por- 
traits, the  rich  architecture  in  perspective,  and  the  masterly 
clear  colouring." — (J.  B.) 

By  Benozzo  Gozzoli  there  is  a  magnificent  work 
representing  a  Priest  administering  the  Host  to 
several  nuns  ;  above,  the  Virgin  adored  by  angels  ; 
and,  at  the  base,  six  charming  scenes  representing 
the  life  and  death  of  the  Virgin. 

"  This  capital  work,  in  perfect  state  of  preservation, 
dates  from  the  youth  of  Gozzoli  and  affords  a  curious 
specimen  of  his  first  manner,  inspired  by  Fra  Angelico." — 
(M.  P.) 

A  Miracle  of  St.  Thomas  Aquinas,  by  Sas- 
setta,  is  admirable  in  composition,  colour  and  ex- 
pression ;  as  are  two  fine  specimens  of  his  School : 
the  Virgin,  with  St.  Bernard,  St.  Sebastian,  and 
St.  Catherine  of  Alexandria,  in  the  style  of  Piero 
della  Francesca ;  and  an  Umbrian-Florentine  work, 
St.  Francis  in  Prayer,  probably  by  a  pupil  of 
Piero. 

There  are  several  fine  works  by  Sano  di  Pietro; 
and  a  series  of  small  pieces  by  Giovanni  di  Paolo, 
among  which  Christ  at  Gethsemane,  an  En- 
tombment and  a  Nativity  are  striking.  Very 


ROME  429 

refreshing  by  contrast  with  so  many  religious 
works  is  the  Portrait  of  Francesco  Sforza,  as  a 
child,  by  Bernardino  de  Conti. 

Of  Fra  Angelico's  school  is  the  Life  of  Christ; 
and  the  master  himself  is  represented  by  his  His- 
tory of  St.  Nicholas  of  Bari,  and  a  Madonna  with 
Angels,  on  a  gold  ground.  The  latter  is  very 
characteristic  of  Fra  Angelico. 

"  The  little  cell  was  as  one  of  the  houses  of  heaven  pre- 
pared for  him  by  his  Master.  What  need  had  it  to  be  else- 
where? Was  not  the  Val  'Arno,  with  its  olive  woods  in 
white  blossom,  paradise  enough  for  a  poor  monk?  Or 
could  Christ  be  indeed  in  heaven  more  than  here?  Was  He 
not  always  with  him?  Could  he  breathe  or  see,  but  that 
Christ  breathed  beside  him,  or  looked  into  his  eyes?  Under 
every  cypress  avenue  the  angels  walked ;  he  had  seen 
their  white  robes — whiter  than  the  dawn — at  his  bedside, 
as  he  woke  in  early  summer.  They  had  sung  with  him, 
one  on  each  side,  when  his  voice  failed  for  joy  at  sweet 
vesper  and  matin  time ;  his  eyes  were  blinded  by  their 
wings  in  the  sunset  when  it  sank  behind  the  hills  of 
Luni."— (R.) 

Among  the  noteworthy  foreign  works  are  two 
by  Murillo — Adoration  of  the  Shepherds  and 
a  Marriage  of  St.  Catherine;  a  remarkably  fine 
Teniers;  and  a  Portrait  of  George  IV.,  by 
Lawrence,  presented  to  Pius  VII.  by  that  sove- 
reign. 


NATIONAL  MUSEUM 

NAPLES 

THE  picture  gallery  of  Naples  occupies  the  west 
wing-  in  the  National  Museum  built  for  a  bar- 
racks in  1586;  occupied  by  the  University  in 
1615;  and  arranged  for  a  museum  in  1790.  The 
pictures  are  somewhat  overshadowed  by  the 
treasures  unearthed  at  Herculaneum  and  Pom- 
peii and  the  magnificent  sculpture  gallery. 

John  Van  Eyck's  Jerome  shows  the  saint  sit- 
ting in  an  arm-chair  in  his  study  extracting  a 
thorn  from  the  lion's  foot. 

"  His  head  is  vulgar  in  type  as  well  as  in  expression. 
The  work  bears  throughout  the  stamp  of  an  exclusive 
realism :  the  author  has  treated  the  accessories  with  quite 
as  much  love  as  he  has  the  solitary  and  his  strange  com- 
rade. The  red-brown  tone  that  dominates  the  whole  colour 
is  found  in  several  other  panels  by  John." — (A.  M.) 

The  scene  in  Raphael's  Madonna  del  Divino 
Amore  is  more  solemn  than  that  in  the  Pitti  Ma- 
donna del  Impannata. 

"  Elizabeth  wants  the  child  Christ  to  bless  the  little 
John  kneeling  on  the  left,  and  leads  him  gently  by  the 
hand.  Mary  prays  as  if  confirming  it ;  she  has  let  go  her 
hold  of  the  child  on  her  knee,  rightly,  for  if  he  is  capable 
of  blessing,  he  must  also  be  able  to  sit  firm.  It  is  just  in 
traits  of  this  kind  that  later  art  is  so  poor.  The  execution 
must  be  the  work  of  pupils." — (J.  B.) 

Close  by  hangs  Giulio  Romano's  Madonna 
della  Gatta. 

"  A  repetition,  given  in  his  style,  of  the  Perla  of  Raph- 
430 


NAPLES  431 

ael.  The  additions  made  by  the  pupil  are  mere  desecra- 
tions, such  as  the  cat,  the  transformation  of  Elizabeth  into 
a  gipsy,  and  various  other  changes." — (J.  B.) 

Perugino's  Madonna  and  Child  represents  the 
Virgin  seated  with  the  Infant  Jesus  on  her  knee, 
in  a  rocky  valley  of  much  beauty.  On  the  left  a 
man  on  a  white  horse  is  approaching  with  three 
young  companions;  and  on  the  right,  five  persons, 
two  of  whom  are  holding  golden  cups. 

Moretto's  Christ  Scourged  is  a  charming  little 
composition  of  exquisite  finish. 

Andrea  del  Sarto's  great  Assumption  of  the 
Virgin  was  painted  by  his  pupils  from  his 
sketches  and  partly  executed  by  himself. 

His  copy  of  Raphael's  Leo  X.  (in  the  Pitti) 
shows  that  Raphael's  shadows  were  much  lighter 
at  the  time  they  were  painted. 

"  The  copy  is  executed  with  colours  chemically  better  in 
the  shadows :  it  shows  how  the  original  must  have  been 
harmonized." — (J.  B.) 

Parmegianino's  portraits  of  Columbus  and 
Vespucci,  both  arbitrarily  so  named,  and  of  his 
own  daughter,  and  of  De  Vincentiis,  are  among 
the  pearls  of  the  gallery. 

"  He  has  several  pictures  of  the  most  exquisite  distinc- 
tion, with  heads  fine  and  long,  among  others  a  young  girl, 
modest  and  candid,  who  gazes  at  us  with  a  look  of  aston- 
ishment. A  great  portrait  represents  a  lord  of  the  period, 
lettered,  learned  and  military.  He  wears  a  sort  of  red 
cap,  and  his  cuirass  is  in  a  corner.  His  noble  face  is  fine 
and  dreamy,  his  hair  and  beard  are  of  admirable  beauty 
and  abundance.  One  could  not  imagine  a  more  aristo- 
cratical  hand;  and  his  whole  expression  is  gently  contem- 
plative. He  is  a  captain,  a  thinker,  and  a  man  of  the 
world."— (H.  A.  T.) 


432  NATIONAL   MUSEUM 

Guercino's  well-known  Magdalen  is  also  here. 

"  His  charming  Magdalen,  nude  to  the  waist,  in  the 
most  graceful  attitude,  with  the  most  beautiful  hair,  the 
most  beautiful  breast,  and  the  sweetest  imperceptible 
smile  of  tender  and  dreamy  melancholy.  She  is  the  most 
touching  and  amiable  of  all  lovers ;  and  she  is  contemplat- 
ing a  crown  of  thorns !  How  far  we  are  from  the  energy 
and  simplicity  of  the  preceding  century!" — (H.  A.  T.) 

In  Luca  Giordono's  Pieta 

"  he  here  endeavours  to  be  intense,  but  at  least  does  not 
surround  the  body  with  Caravaggesque  gipsies,  but  with 
good-natured  old  mariners." — (J.  B.) 

St.  Francis  Xavier  Baptizing  the  Savages 
was  completed  in  three  days.  His  other  pictures 
here, 

"  though  without  any  really  firm  outline,  without  any  choice 
in  forms  or  motives,  yet  exercise  a  great  charm,  chiefly 
through  a  certain  careless  absence  of  pretension,  and 
through  the  whole  pleasing  appearance  of  life." — (J.  B.) 

"  This  Luca  Giordono,  so  decried,  so  vapid,  is  a  true 
painter.  With  his  smiling  faces,  and  graceful  rounded 
forms,  his  foreshortenings,  his  silken  stuffs,  with  all  the 
movement  and  vivacity  of  his  painting,  he  has  the  genius 
of  his  art :  I  mean,  he  knows  how  to  please  the  eyes." — 
(H.  A.  T.) 

The  beautiful  portrait  of  Cavalieri  Tibaldeo  is 
now  attributed  to  the  unknown. 

Among  Mantegna's  easel  picture,  the  much- 
restored  figure  of  St.  Euphemia  (1454),  is  the 
earliest  and  perhaps  the  grandest  conception  of 
ideal  beauty  ever  attained  by  him. 

Titian's  Pope  Paul  III.,  painted  in  1543,  is  one 
of  the  master's  most  life-like  productions.  The 
hands  as  well  as  the  face  are  to  be  noticed;  and 


NAPLES  433 

the  balance  of  light  and  shade  is  most  harmo- 
nious. 

"  The  pontiff's  likeness  is  that  of  a  strong  man,  gaunt 
and  dry  from  age.  A  forehead  high  and  endless,  a  nose 
both  long  and  slender,  expanding  to  a  flat  drooping  bulb 
with  flabby  nostrils  overhanging  the  mouth,  an  eye  pecul- 
iarly small  and  bleary,  a  large  and  thin-lipped  mouth, 
display  the  character  of  Paul  Farnese  as  that  of  a  fox 
whose  wariness  could  seldom  be  at  fault.  The  height  of 
his  frame,  its  size  and  sinew,  still  give  him  an  imposing 
air  to  which  Titian  has  added  by  drapery  admirable  in  its 
account  of  the  under  forms,  splendid  in  the  contrasts  of 
its  reds  in  velvet  chair  and  silken  stole  and  rochet  and 
subtle  in  the  delicacy  of  its  lawn  whites." — (C.  and  C.) 

Pope  Paul  III.  also  appears  in  another  work  by 
Titian,  this  time  accompanied  by  Cardinals  Ales- 
sandro  and  Ottavio  Farnese. 

"  The  first  picture  to  which  Vasari  refers  as  a  work  of 
Titian  at  Rome  is  the  likeness  of  Paul  the  Third  with 
Cardinal  Alessandro  and  Ottavio  Farnese,  '  executed  with 
great  skill  and  entirely  to  the  satisfaction  of  those  con- 
cerned.' The  canvas  which  contains  these  three  person- 
ages was  left  to  the  very  last  unfinished,  and  we  may 
think  that  the  cause  of  this  mishap  lay  in  the  dislike  of  the 
Pope  to  sit.  Though  the  Palace  of  the  Belvedere  had  been 
chosen  as  Titian's  habitation  because  it  was  likely  to  facili- 
tate his  intercourse  with  the  pontiff,  Paul  was  too  old,  too 
ailing  and  too  peevish  to  visit  the  painter's  room  fre- 
quently. Titian  finished  the  heads  of  Cardinal  Alessandro 
and  Ottavio  Farnese  carefully,  but  left  that  of  the  Pope 
incomplete." — (C  and  C.) 

In  1550,  Titian  went  to  Augsburg  and  made  a 
character  study  of  Philip  II.  from  which  in  a  few 
successive  years  he  sent  forth  a  long  series  of  por- 
traits, the  best  of  which  adorns  this  gallery. 

"  This  fine  canvas  shows  Philip  at  full  length,  his  right 
hand  playing  with  the  tassel  at  his  belt.  The  treatment  is 


434  NATIONAL   MUSEUM 

more  conventional  here  than  at  Madrid,  but  the  head  is 
still  life-like,  and  the  features  are  given  with  masterly 
skill."— (C  and  C.) 

Danae  is  one  of  several  mythological  pic- 
tures ordered  by  Ottavio  Farnese,  son-in-law  of 
Charles  V. 

"  It  is  a  beautiful  female  form  couched  in  a  supple  and 
voluptuous  attitude.  In  this  work,  the  naive  sensuality 
of  the  Renaissance  is  expressed  with  a  freedom  entirely 
antique.  The  nude  is  treated  with  a  breadth,  suppleness 
and  plenitude  in  which  we  recognize  the  influence  of 
Michael  Angelo;  but  that  of  Greek  statuary  even  more." — 
(M.  H.) 

Sebastiano  del  Piombo's  Madonna  Covering 
up  the  Sleeping  Child  belongs  to  his  last  period, 
but  is  still  full  of  Venetian  colour. 

Correggio's  Marriage  of  St.  Catherine  is  not 
a  repetition  of  the  Louvre  picture.  It  is  the  same 
subject  treated  differently  and  with  infinite  deli- 
cacy. The  execution  is  a  marvel  of  finesse,  brilliant 
flesh  tints,  and  transparence  in  the  shadows. 

"  It  is  a  small  picture  easily  and  boldly  painted.  That 
the  child  should  look  up  questioningly  to  the  mother  at 
the  strange  ceremony  is  quite  a  feature  in  the  manner  of 
Correggio,  who  would  never  conceive  children  other  than 
naive. 

"  There  is  also  the  Zingarella,  the  Madonna  bent  over 
the  child  seated  on  the  earth ;  above  in  a  cloud  of  palrns 
hover  delicious  angels.  Correggio  here  brings  out  the  ma- 
terial element,  as  also  not  seldom  elsewhere,  with  a  cer- 
tain passion,  as  though  he  felt  he  could  give  no  higher 
meaning  to  his  type.  The  execution  perhaps  somewhat 
earlier,  otherwise  of  the  greatest  beauty." — (J.  B.) 

The  Madonna  and  Child  was  painted  in  1520 
and  is  known  as  the  Madonna  del  Coniglio  from 


NAPLES  435 

the  rabbit,  and  also  under  the  name  of  the  Zingar- 
ella,  because  of  the  strange  headdress  the  Virgin 
wears.  The  Madonna  is  supposed  to  be  the  por- 
trait of  Correggio's  wife. 

"  Mary  is  sitting  with  her  face  in  profile  in  a  beautiful 
landscape  under  a  palm  tree.  The  Infant  Jesus  is  slumber- 
ing on  her  lap,  clasped  with  one  arm,  while  the  other  sup- 
ports his  foot.  She  bends  over  him  affectionately,  and 
touches  his  head  with  her  forehead.  Above  her,  among 
the  palm  trees  and  clouds,  hover  genii  without  wings,  one 
of  whom  approaches  nearer  than  the  rest,  and  holds  a 
branch  over  her  as  a  shade  and  protection.  The  character 
of  the  picture  is  stillness  and  repose.  The  genii  seem 
playfully  to  hold  a  dreamy  spell  over  the  group;  the  rab- 
bit in  the  green  grass  close  at  hand  watches  them  all  with 
curiosity,  but  without  fear,  and  Mary  herself  lets  her  head 
fall,  half  slumbering,  like  a  calm  vision  in  a  dream ;  the 
naked  forms  of  the  angels  above  float  in  the  soft  illusive 
shimmer  of  twilight.  It  is  interesting  to  see  how  Correg- 
gio  always  strives  to  invest  his  conceptions  with  the  look  of 
every-day  life,  and  he  has  consequently  given  Mary  a  sort 
of  Eastern  costume.  A  cloth  is  folded  round  her  head  in 
turban  fashion,  and  a  long  garment  with  narrow  sleeves 
reaches  to  her  feet,  which  are  encased  in  sandals." — 
(J.  M.) 


THE    PRADO    MUSEUM 
MADRID 

THE  excellence  of  the  Prado  Gallery  has  been  de- 
fined as  "  the  excellence  of  exclusion."  It  stands 
alone  among  galleries ;  for,  although  the  pictures 
number  more  than  two  thousand,  the  majority  of 
them  are  masterpieces.  With  few  exceptions  the 
pictures  belong  to  the  Crown.  The  Real  Museo 
de  Pintura  del  Prado  was  begun  in  the  reign  of 
Charles  III.  for  an  Academy  of  Natural  History; 
but  was  completed  by  Ferdinand  VII.,  who 
founded  the  Picture  Gallery. 

"  When  Ferdinand  married  his  second  wife,  La  Portu- 
gaise,  one  Monte  Allegre,  who  had  been  a  Spanish  convert 
in  France,  persuaded  him  to  refurnish  the  palace  with 
French  papers,  and  ormolu  clocks,  and  chandeliers — his 
particular  fancy ;  thereupon  the  quaint  original  cinque- 
cento  furniture,  much  of  which  was  of  the  period  even  of 
Charles  V.  and  Philip  II.,  was  carted  out,  and  the  pic- 
tures taken  down  and  stowed  away  in  garrets  and  corri- 
dors, exposed  to  wind,  weather,  and  the  worst  plunderings 
of  Spanish  Custodes.  They  were  fast  perishing  and  dis- 
appearing when  the  Marques  de  Sta.  Cruz,  Mayor  Duomo, 
Mayor  or  Lord  Steward,  and  the  Duque  de  Gor,  one  of 
the  few  grandees  blessed  with  a  particle  of  taste  or  talent 
(our  authority  for  this  anecdote),  persuaded  the  Queen  to 
remove  the  pictures  to  the  Prado.  She  advanced  £40  a 
month  towards  repairing  a  few  rooms  for  their  reception, 
and  by  November,  1819,  these  saloons  were  got  ready,  and 
311  pictures  exhibited  to  the  public;  the  extraordinary 
quality  of  which,  especially  of  Velasquez,  instantly  at- 
tracted the  admiring  eyes  of  foreigners,  who  appreciated 
the  merits  of  the  Old  Masters  of  Spain  much  better  than 
the  natives.  Ferdinand  VII.,  seeing  that  renown  was  to 
be  obtained,  now  came  forward  with  £240  a  month  and 
•  436 


LAS  MENINAS— Velasquez 

THE   PRADO 


MADRID  437 

the  Museo  was  slowly  advanced,  one  more  saloon  being 
opened  in  1821." — (R.  F.) 

Here  Ferdinand  gradually  collected  all  the  pic- 
tures from  his  palaces  except  the  Escorial.  In 
1840,  the  early  Spanish  and  Flemish  paintings  that 
were  removed  from  the  convents  in  1836  and  placed 
in  the  Museo  Nacional  de  la  Trinidad  were  also 
brought  to  this  gallery. 

In  1890,  the  famous  Salo  de  la  Reina  Isabel, 
which  corresponds  to  the  Tribuna  in  the  Uffizi, 
and  the  Salon  Carre  in  the  Louvre,  was  redeco- 
rated, relighted  and  rearranged.  In  this  hall  are 
collected  the  masterpieces  of  every  school,  while 
one  section  of  the  Long  Gallery  is  devoted  to  mas- 
terpieces of  the  Spanish  School,  and  the  other  to 
those  of  the  Italian. 

Velasquez  is  the  hero  of  the  Prado;  but  in  no 
other  gallery  are  Titian  and  Rubens  seen  to  better 
advantage.  Murillo  is  splendidly  represented  by 
forty-six  works,  and  Raphael  by  ten. 

Of  the  great  Italian  masters,  there  are  no  less 
than  forty-three  by  Titian,  twenty-four  by  Paul 
Veronese,  twenty-seven  by  Tintoretto,  fifty-five  by 
Luca  Giordono,  sixteen  by  Guido  and  twenty- 
seven  by  Bassano;  and  of  the  Dutch  and  Flem- 
ish, there  are  sixty-two  by  Rubens,  twenty-three 
by  Snyders,  fifty-two  by  Teniers,  ten  by  Wouver- 
mans,  twenty-two  by  Van  Dyck,  and  no  less  than 
forty-nine  by  Brueghel. 

"  The  Prado  is  the  shrine  of  Velasquez ;  and  the  art- 
lover  cannot  enter  the  room  where  his  name  is  written 
above  the  door  without  some  consciousness  of  treading 
upon  holy  ground.  .  .  .  The  difference  of  seeing 
Velasquez  at  the  Prado  and  elsewhere  is  this :  in  other 
places  you  see  two,  three,  maybe  half  a  dozen  of  his 


438  THE   PRADO   MUSEUM 

masterpieces ;  here  you  have  every  phase  of  his  genius. 
All  around  you  are  different  expressions  of  his  art. 
More  than  any  other  painter,  Velasquez  bears 
the  test  of  close  acquaintance.  His  pictures  hold  you  in 
Madrid ;  they  lure  you  from  Titian,  from  Rubens,  from 
every  master  in  the  Prado.  Do  you  wander  away  for  a 
time,  their  call,  so  quiet,  yet  so  strong,  will  draw  you 
back.  And  as  you  sit  before  each  canvas,  one  by  one, 
each  in  turn  will  hold  your  homage.  One  day  it  will  be 
the  glamour  and  sunlight  of  The  Tapestry  Weavers  that 
will  engross  you ;  and  this  picture,  although  the  most 
cleaned  of  all  the  over-cleaned  canvases  here,  will  seem  to 
tell  you  the  last  word  Velasquez  had  to  say  about  light 
and  colour.  Sometimes  you  will  be  charmed  by  black  and 
white  effects  like  those  of  Pablillos  of  Valladolid;  at  others 
more  brilliant  colours  will  claim  your  love — such  as  you 
see  in  the  picture  of  Antonio  el  Ingles,  the  dandy-dwarf, 
very  brightly  dressed,  as  he  stands  by  the  side  of  his  su- 
perb dog.  Again  and  again  you  will  be  charmed  by  fine 
portraits  of  animals.  It  is  certain  that  Velasquez  loved 
dogs  and  children.  And  you  will  come  to  regard  him  as 
the  supreme  painter  of  childhood,  when  you  know  the 
wonderful  portrait  of  the  Infanta  Margarita  in  Red,  that 
glad  lyric  of  colour ;  or  its  companion  picture,  the  boy, 
Baltazar  on  horseback,  the  gayest  portrait  in  the  world. 
It  is  difficult  to  decide  between  the  merits  "of  the  three 
equestrian  portraits  of  the  young  Prince,  of  Philip,  and  of 
Olivares.  And  there  is  the  same  uncertainty  with  the 
hunting  scenes,  with  the  group  of  portraits  of  Philip, 
with  the  character  studies  of  the  dwarfs  and  buffoons — in 
fact  with  all  the  pictures.  Day  by  day  as  you  study  each 
canvas  anew  it  will  suggest  a  new  point  of  admiration. 
Each  picture  is  as  beautiful  as  true,  as  are  all  the  rest ;  yet 
each  is  alone  in  the  freshness  of  its  appeal.  This  is  the 
charm  of  Velasquez — he  is  a  perfect  companion ;  he  never 
wearies  you,  never  cloys." — (A.  F.  C.) 


Las  Meninas  might  be  called  a  portrait  of 
the  Princess  Margaret,  who  is  the  central  figure, 
at  this  period  in  her  fifth  year.  The  curious  ar- 
rangement was  the  result  of  an  accident,  for  one 


MADRID  439 

day  while  the  King  and  Queen  were  sitting  to 
Velasquez  in  his  studio,  they  sent  for  the  Princess 
Margaret.  The  light  from  the  open  window  on 
the  sitters  also  fell  upon  the  little  visitor;  and,  at 
the  same  time,  Velasquez  requested  Nieto  to  open 
the  door  in  the  back.  The  King,  struck  by  the 
effect,  exclaimed :  "  This  is  a  picture !  "  and  desired 
to  have  it  perpetuated. 

"  Hence  the  peculiar  character  of  the  composition  which 
as  an  invention  would  be  inexplicable.  It  is,  so  to  say,  a 
tableau  vivant. 

"  We  see  the  company  as  one  sees  the  audience  in  the 
pit  from  the  stage,  and  precisely  from  the  standpoint  of  the 
king,  who  is  reflected  in  the  mirror  in  the  wall  by  the  side 
of  the  queen.  He  had  seated  himself  opposite  this  mirror 
in  order  to  be  able  to  judge  of  his  posture. 

"  In  this  instantaneous  picture  the  artist  himself  had 
also  of  course  to  be  taken.  He  stands  at  his  easel,  but 
slightly  concealed  by  the  kneeling  figure  in  front,  his  head 
dominating  the  whole  group.  In  his  right  hand  he  holds 
the  long  brush,  in  his  left  the  palette  and  painter's  stick. 
The  hand,  like  those  of  this  picture  generally,  is  exqui- 
sitely painted,  the  motion  of  the  fingers  being  distinctly  in- 
dicated by  four  strokes  of  the  brush. 

"  On  his  breast  he  wears  the  Red  Cross  of  Santiago. 
According  to  the  legend,  Philip,  on  the  completion  of  the 
painting,  had  reserved  a  royal  surprise  for  its  creator. 
Remarking  that  it  still  lacked  something,  he  seized  the 
brush  and  added  this  Red  Cross. 

"  The  picture  is  broadly  painted,  as  if  with  reckless 
haste,  on  a  coarse  canvas  with  long  bristly  brush,  al- 
though of  all  his  works  it  produces  the  softest  and  most 
tranquil  impression.  In  no  other  are  the  processes  laid  so 
completely  bare.  In  the  shadows  we  distinguish  the 
brown  parts  of  dead  colouring  rubbed  in ;  the  grey  sur- 
faces in  white  blends  applied  over  this  ground ;  the  local 
colours  and  lights  in  one  place  dashed  off  with  rich, 
angular,  formless  touches,  in  another  softly  blended. 

"  The  figures  are  formed  with  such  broad  grey  touches, 
and  then  full  bodily  substance  and  the  pulse  of  life  are 


440  THE    PRADO   MUSEUM 

imparted  to  their  still  dim  existence,  often  with  a  few 
sharp  strokes.  The  local  colouring  is  kept  in  reserve,  the 
artist  operating  chiefly  by  means  of  light  and  shade;  a 
deadened  greenish  blue,  dark  green,  or  white  is  lightly 
applied  above,  while  here  and  there  small  red  patches 
come  to  the  front.  The  secret  lies  in  that  thin  super- 
position of  dark  on  light,  light  on  dark,  unblinded,  hover- 
ing one  above  the  other,  the  outlines  receiving  an  appear- 
ance of  quivering  motion  by  broad  brown  strokes  of  the 
brush  as  if  stippled.  But  the  essential  point  is  the  nuances 
improvised  on  the  spur  of  the  moment,  by  the  fire  of  the 
hand  struggling  with  the  impression  of  the  eye." — (C.  J.) 

Las  Hilanderas  is  a  jewel  of  the  first  water. 

"  The  foreground,  bathed  in  warm  and  transparent 
shadows,  shows  a  workshop  in  which  women  are  em- 
ployed in  spinning  thread.  In  a  second  room  at  the  back, 
communicating  with  it  by  a  wide  arcade,  female  visitors 
to  the  factory  are  examining  a  tapestry  of  mythological 
subject  that  is  illuminated  by  a  flood  of  sunlight.  It  is 
hot  outside,  and  the  air  inside  is  stifling;  so  the  workers 
have  taken  off  their  outer  garments  for  greater  comfort. 
All  are  occupied  at  some  task  or  other.  In  the  centre,  a 
superb  old  woman,  with  the  figure  of  a  Fate,  holds  a  dis- 
taff and  with  her  foot  turns  a  wheel  so  rapidly  as  to  make 
the  spokes  invisible.  On  the  left,  a  girl  is  pulling  aside  a 
large  red  curtain ;  on  the  right  another,  whose  facial 
beauty  is  left  to  the  imagination,  is  winding  off  a  skein 
on  a  frame :  her  chemise,  clinging  to  her  humid  back, 
leaves  one  shoulder  exposed  and  reveals  a  neck  bathed 
with  perspiration.  Two  other  girls  are  carding  and  wind- 
ing thread.  That  is  all ;  and  this  scene,  so  simple,  so  inti- 
mately familiar,  has  sufficed  for  Velasquez  to  produce  a 
masterpiece. 

"  We  know  of  no  picture  in  which  the  perfect  and  sud- 
den action  is  more  vitally  surprised  on  the  spot,  or  more 
fully  expressed.  We  feel  that  the  artist  has  taken  less 
pains  to  render  women  occupied  in  some  task  than  in 
rendering  a  piece  of  nature,  an  ensemble  seized  and  copied 
at  a  particular  moment  under  a  determined  light. 

"  He  saw  in  this  scene  an  entire  picture,  with  its  planes, 
gradations,  backgrounds  and  aerial  envelope.  Here,  as  in 


MADRID  441 

physical  life,  the  atmosphere  and  the  individuals  share  in 
the  same  movement  and  vibration.  Therefore  what  reality 
there  is  here!  And  how  everything  holds  together  in  this 
astonishing  painting!  It  all  lives  and  palpitates;  and  Art 
has  never  succeeded  in  giving  the  illusion  of  reality  to 
such  a  degree. 

"  When  in  this  marvellous  work,  almost  Dutch  in  the 
intimacy  of  its  subject  and  skilful  disposition  of  its  light, 
but  so  Spanish  in  the  simplicity  of  its  arrangement  and 
still  more  in  its  character,  we  try  to  take  account  of  the 
means  employed  by  the  artist'  in  attaining  this  height  of 
execution,  we  are  amazed  at  their  sobriety. 

"  These  colorations  so  vibrant,  these  carnations  that 
are  of  the  flesh,  these  tones  of  space  so  aerial  and  so  pro- 
found, he  has  obtained  by  the  aid  of  four  or  five  colours : 
a  greenish  blue,  reds  varying  from  brown  red  to  crimson, 
an  ecru,  white,  and  grey.  And  with  these  and  with  some 
scarcely  sensible  gradations  of  value,  Velasquez  has  painted 
his  picture  of  greatest  colour  and  most  perfect  execu- 
tion."—(P.  L.) 

Las  Borrachos  (The  Topers)  with  landscape 
background,  is  in  his  first  manner. 

"  The  half-naked  Bacchus,  crowned  with  vine-leaves,  sits 
enthroned  on  a  cask,  and  smiles  as  he  places  a  leafy 
crown  on  the  head  of  a  young  soldier  who  kneels  before 
him ;  on  the  left  is  a  peasant  seated,  and  another,  naked 
and  crowned,  reclining  on  a  bank  with  a  cup  in  his  hand ; 
on  the  right,  five  jovial  peasants  watch  the  ceremony.  The 
scene  is  irresistibly  comical,  and  the  success  of  the  artist 
in  seizing  a  laugh  and  fixing  it  on  the  canvas  without 
converting  it  into  a  grimace,  is  an  unparalleled  triumph  of 
skill."— (C.  B.  C.) 

The  Surrender  of  Breda,  also  known  as  Las 
Lanzas,  is  a  work  of  brilliant  realism  and  gran- 
deur. 

"  A  vast  and  spacious  sky  full  of  light  and  vapour, 
richly  laid  in  with  pure  ultramarine,  mingles  its  azure 
with  the  blue  distances  of  an  immense  landscape  where 
sheets  of  water  gleam  with  silver.  Here  and  there  in- 
cendiary smoke  ascends  from  the  ground  in  fantastic 


442  THE   PRADO    MUSEUM 

wreaths  and  joins  the  clouds  of  the  sky.  In  the  fore- 
ground on  each  side,  a  numerous  group  is  massed :  here 
the  Flemish  troops,  there  the  Spanish  troops,  leaving  for 
the  interview  between  the  vanquished  and  victorious  gen- 
erals an  open  space  which  Velasquez  has  made  a  luminous 
opening  with  a  glimpse  of  the  distance  where  the  glitter 
of  the  regiments  and  standards  is  indicated  by  a  few 
masterly  touches. 

"  The  Marquis  of  Spinola,  bareheaded,  with  hat  and  staff 
of  command  in  hand,  in  his  black  armour  damascened 
with  gold,  welcomes  with  a  chivalrous  courtesy  that  is 
affable  and  almost  affectionate,  the  Governor  of  Breda, 
who  is  bowing  and  offering  him  the  keys  of  the  city  in  an 
attitude  of  noble  humiliation.  No  one  has  known  so  well 
as  Velasquez  how  to  paint  the  gentleman  with  such  su- 
perb familiarity,  and,  so  to  speak,  as  equal  to  equal.  He 
himself  is  one  of  the  King's  favourites  (privados  del  Rey.) 

"  It  would  not  be  easy  to  convey  in  words  the  chivalric 
pride  and  the  Spanish  grandeur  which  distinguish  the 
heads  of  the  officers  forming  the  General's  staff.  They  ex- 
press the  calm  joy  of  triumph,  tranquil  pride  of  race,  and 
familiarity  with  great  events." — (T.  G.) 

There  are  several  portraits  of  the  Infante  Bal- 
thazar Carlos,  who  died  in  early  youth. 

"  The  equestrian  portrait  of  the  young  prince  is  one  of 
the  finest  things  painted  by  the  master.  The  boy  rides 
an  Andalusian  pony  and  flourishes  his  baton  with  an  en- 
gaging mimicry  of  his  father.  In  decorative  brilliancy  of 
colour  Velasquez  never  excelled  this  picture.  A  positively 
dazzling  effect  is  produced  by  the  richly-dressed  little 
horseman,  in  his  green  velvet  doublet,  white  sleeves,  and 
red  scarf  against  the  irridescent  landscape.  The  mane  and 
tail  of  the  Andalusian  pony,  the  boy's  rich  costume  and 
his  flying  scarf,  and  the  splendid  browns,  blues  and  greens 
of  the  landscape  background  make  up  a  decorative  whole 
as  rich  and  musical  as  any  Titian." — (C.  J.) 

Never  in  his  whole  career  did  Velasquez  equal 
this  picture  in  spontaneous  vitality  or  in  splendour 
of  colour. 


MADRID  443 

"  The  boy  gallops  past  at  an  angle  which  brings  him  into 
the  happiest  proportion  with  his  mount.  His  attitude  is 
the  natural  one  for  a  pupil  of  Philip  and  Olivares,  two  of 
the  best  horsemen  in  Europe ;  his  look  and  gesture  ex- 
press just  the  degree  of  pride,  delight  and  desire  for  ap- 
proval which  charm  in  a  child. 

"  Velasquez  was  afterwards  to  paint  many  pictures  in 
which  the  more  subtle  resources  of  his  art  were  to  be 
more  fully  displayed  than  here,  but  he  was  never  again  to 
equal  this  Don  Balthazar  Carlos  in  the  felicity  with  which 
directness  and  truth  are  clothed  in  the  splendours  of  deco- 
rative colour,  and  that  without  drawing  upon  the  more 
sonorous  notes  of  the  palette.  Only  once  in  after-life 
does  he  seem  to  have  let  himself  go  in  the  matter  of  col- 
our and  to  have  tried  what  he  could  do,  so  to  speak,  with 
the  trumpet.  The  extraordinary  portrait  of  the  Infante 
Margarita  in  rose-colour  against  red  was  the  result,  but 
wonderful  as  it  is,  it  leaves  us  cold  beside  the  delicious 
tones,  like  those  of  a  silver  flute,  of  this  Balthazar  Carlos." 
-(W.  A.) 

Another  fine  equestrian  portrait  is  the  Conde 
Duque  de  Olivares.  Nothing  can  be  better  than 
the  chary  use  of  gaudy  colour  in  this  picture. 

Philip  III.  is  a  marvellous  specimen  of  the 
effects  produced  by  placing  a  figure  on  cool  greys ; 
the  royal  head  is  full  of  the  individual  imbecility 
of  this  poor  bigot,  who  was  twelve  years  learning 
his  alphabet.  Among  the  great  equestrian  por- 
traits the  following  must  be  noted : 

"  Philip  IV.,  witching  the  world  with  noble  horseman- 
ship, the  only  attitude  in  which  the  monarch  of  Caballeros 
ought  to  be  painted.  The  bounding  horse  is  alive  and 
knows  its  rider;  how  everything  tells  up  on  the  cool  blue 
and  greens  in  the  background !  Queen  Isabel,  first  wife 
of  Philip  IV.,  on  a  superb  white  steed ;  observe  how  her 
costume  is  painted,  and  despair;  remark  also  the  differ- 
ence of  the  horses;  those  which  carry  men  are  fiery  and 
prancing,  while  those  on  which  women  are  mounted  are 


444  THE    PRADO    MUSEUM 

gentle  and  ambling,   as   if  conscious   of  their  timid,   deli- 
cate burdens." — (C.  J.) 

In  the  same  apartment  containing  the  series  of 
large  hunting-pieces,  there  hung  three  figures, 
the  King,  his  brother,  Don  Ferdinand  (the  car- 
dinal), and  his  little  son,  Balthazar,  in  hunting 
costume  and  with  dogs. 

"The  three  portraits  are  exactly  the  same  height  (1.91 
metres),  agree  somewhat  closely  in  arrangement,  costume 
and  scenery,  and  seem  to  supplement  each  other  in  various 
details. 

"  Prince  Ferdinand  was  the  handsomest  and  the  most 
richly  endowed  of  the  three  brothers,  without  a  trace  of 
that  indolence  which,  since  the  death  of  Philip  II.,  seemed 
to  have  clung  to  the  family.  His  activity  in  business  and 
in  the  field  was  amazing ;  he  shared  with  the  king  his  pas- 
sion for  sport,  and  in  1639  slew  a  wild  boar  in  the  Brus- 
sels woods,  which  had  killed  eight  dogs,  wounded  four, 
and  ripped  up  two  horses.  Those  in  his  immediate  inti- 
macy called  him  '  the  kindliest  and  most  courteous  prince 
that  Heaven  has  sent  us  for  centuries.''  Although  he  seems 
physically  more  delicate  than  the  king,  he  still  betrays 
more  of  the  stuff  of  a  ruler  in  his  resolute,  intelligent  ex- 
pression. 

"  The  landscape,  in  a  cool,  light,  blue-grey  tone,  is 
treated  with  great  breadth  and  freedom :  we  can  feel  the 
very  atmosphere  of  the  hills. 

"  All  the  costumes  are  the  same,  even  to  slight  details — 
hunting-caps  showing  one  ear  pressed  back  or  turned  up; 
vest  of  dark  figured  silk  under  a  leather  jerkin  or  short 
cloak  with  false  sleeves,  long  leather  gloves,  white  knee- 
breeches,  military  boots.  The  prince  rests  his  little  gun 
jauntily  on  the  sward;  the  king's  long  heavy  piece  is  held 
under  the  left  arm  hanging  by  his  side;  Ferdinand  holds 
his  in  both  hands  ready  to  take  aim. 

"  The  scene  lies  amid  the  hills,  perhaps  in  the  neigh- 
bourhood of  the  Escorial,  the  sierra  showing  in  the  dis- 
tance. The  view  is  most  open  in  Don  Balthazar's  picture, 
where  we  see  in  the  middle  distance  a  hill  with  a  castle 
and  thin  undergrowth  of  oak,  beyond  it  a  stretch  of  level 


THE  IMMACULATE  CONCEPTION— Murillo 

THE   PRADO 


MADRID  445 

ground  with  a  little  tower  close  to  the  foot  of  the  range. 
Everywhere  harmony  between  figure  and  environment,  in 
the  distribution  of  forms  and  high  lights.  The  glimpses  of 
sunshine  flashing  in  the  clouds  and  piercing  through  the 
foliage  stand  in  nicely  calculated  relation  to  the  high  lights 
on  the  faces,  and  the  white  spots  and  bright  patches  on 
the  trusty  companions  at  the  feet  of  the  sportsmen." — 
(C.  J.) 

Great  among  the  portraits  are  the  following: 
Cristobal  de  Pernia  is  a  fine  study  of  a  famous 
actor  in  the  costume  of  a  Moorish  corsair. 

Francisca,  said  to  be  the  daughter  of  Velas- 
quez, aged  about  seven,  in  greyish  costume  with 
slashed  sleeves  wearing  a  bow  of  red  and  white 
ribbon  on  her  breast,  and  holding  a  bunch  of 
flowers. 

The  only  Spanish  lady  in  the  gallery  is  the  so- 
called  Sibyl. 

"  The  portrait  is  remarkable  as  the  only  instance  in 
which  the  painter  has  selected  a  profile  more  of  a  plastic 
than  pictorial  character.  The  lineaments  of  this  profile 
are  less  beautiful  than  interesting,  more  full  of  character 
than  pleasing,  but  in  any  case  purely  Spanish.  Its  serious 
cast  is  enhanced  by  the  shadows  over  the  forehead  and 
eyes  caused  by  the  light  coming  from  behind. 

"  The  picture  is  painted  on  a  yellowish-grey  ground, 
with  a  free  broad  touch  in  smooth,  thin  colours.  The 
grey  tone,  as  well  as  the  profile  which  painters  regard  as 
insufficient  for  the  likeness  in  portraits,  agrees  well  with 
the  character  of  reserve  impressed  upon  this  noble  figure, 
which  is  turned  from  the  light  and  from  the  observer." — 
(C.  J.) 

The  tall  standing  figure  known  as  Aesop  is 
familiar  to  every  one. 

"  The  most  cleverly-handled  of  all  Velasquez's  heads  is 
the  one  that  most  supports  the  legend  of  his  swaggering 
dexterity  in  flourishing  a  paint-brush.  It  is  a  rough  im- 


446  THE   PRADO   MUSEUM 

pasto  woven  into  a  most  marvellously  expressive  texture. 
.  Mcenippus  again  is  painted  in  large  over-lapping 
smears,  very  softly  but  very  broadly,  so  that  nothing 
specially  arrests  the  eye,  which  floats  over  a  face,  figure 
and  accessories  all  bathed  in  liquid  depths  of  air." — (R. 
A.  M.  S.) 

Nearly  all  the  portraits  of  dwarfs  and  buffoons 
in  which  the  Prado  is  so  rich,  were  executed  for 
the  king,  and  are  mentioned  in  the  royal  inven- 
tories. At  Fraga,  when  Velasquez  accompanied 
the  king  on  his  expedition  to  Lerida  in  1644,  he 
painted  El  Primo,  or  El  Escribano,  a  dwarf  in 
a  black  dress  and  wide-brimmed  hat,  seated  on  a 
stone,  turning  over  the  leaves  of  a  book  on  his  lap. 
All  the  other  representations  of  dwarfs,  monsters 
and  idiots  in  the  Prado  were  painted  about  the  same 
time — between  1644  and  1648 — including  El  Nino 
de  Vallecas,  Sebastian  de  Morra,  El  Bobo  de 
Coria,  Pablillos  de  Valladolid,  Don  Juan  de  Aus- 
tria, or  The  Artillerist,  and  Don  Antonio  el  In- 
gles. 

Sebastian  de  Morra  is  perhaps  the  most 
famous :  a  man  with  coarse  features,  black  hair  and 
beard,  wearing  a  cloak  and  linen  collar,  and  sitting 
on  the  ground  with  his  legs  marvellously  fore- 
shortened. 

"  Seated  as  Velasquez  saw  him,  and  as  no  one  else 
could  have  ventured  to  paint  him." — (R.  F.) 

In  Mercury  and  Argus,  the  latter  is  asleep,  re- 
clining against  a  rock  on  the  right ;  Mercury,  with 
a  sword  is  approaching  on  his  knees  to  despatch 
the  slumberer;  and  lo  is  behind  them  in  the  form 
of  a  cow. 

"  Nothing  can  exceed  the  profound   sleep  of  Argus  or 


MADRID  447 

the  stealthy  action  of  Mercury;  the  god  of  thieves  is 
painted  in  an  absolute  anticipation  of  Sir  Joshua's  style." 
-(R.  F.) 

The  Forge  of  Vulcan  shows  Apollo  entering 
the  smithy  of  Vulcan  to  tell  him  of  the  infidelity 
of  Venus.  Vulcan  stops  his  work  to  listen  and 
four  Cyclops  cease  their  labours  to  hear  the 
scandal. 

Of  religious  pictures,  the  Adoration  of  the 
Magi,  the  Coronation  of  the  Virgin,  and  the 
Crucifixion  are  notable.  The  latter  is 

"  a  sublime  representation  of  the  death  of  the  Son  of 
Man ;  the  treatment  is  solemn  and  impressive.  How  fine 
the  darkness  over  the  face  of  the  earth,  and  the  partial 
concealment  of  the  face  by  dishevelled  and  scattered 
hair!"— (R.  F.) 

A  Fountain  at  Aranjuez  is 

"  an  exquisite  landscape  full  of  local  colour  and  verdurous 
freshness,  with  groups  that  realize  the  very  form  and  pres- 
sure of  the  period  of  Philip  IV.  and  of  the  stately  Spaniard. 
These  pictures  are,  in  fact,  in  painting  what  the  letters  of 
Madame  D'Alnoy  are  in  description.  Compare  with 
Avenue  of  the  Queen,  another  view  at  Aranjuez.  Observe, 
however,  particularly  all  his  small  bits  of  landscape,  studies 
of  ruins  and  architecture  done  at  Rome,  others  with  moon- 
light effects,  and  all  marvellous  gems  of  art." — (R.  F.) 

A  beautiful  landscape  forms  the  background  for 
St.  Anthony  the  Abbot  and  St.  Paul  the  Her- 
mit, one  of  the  latest  and  most  important  of 
the  master's  religious  works.  St.  Paul  in  brown 
and  St.  Anthony  in  white  are  seated  before  a  grotto 
raising  their  eyes  and  hands  in  thankfulness  for 
the  food  a  raven  is  bringing  them. 

"  In  breadth   and   richness   unexampled   the   beau  ideal 


448  THE   PRADO   MUSEUM 

of  landscape,  not  much  detail  or  imitation,  but  the  very 
same  sun  we  see  and  the  air  we  breathe,  the  very  soul 
and  spirit  of  nature." — (D.  W.) 

The  Prado  contains  nearly  fifty  of  Murillo's 
works,  representing  the  master  of  Seville  in  his 
early  realistic  style,  and  in  his  warm  and  vaporous 
styles. 

His  most  famous  works  here  are  four  of  the 
Immaculate  Conception;  The  Children  of  the 
Shell;  The  Child  Jesus  as  Shepherd;  The  Child 
St.  John;  The  Little  Bird;  Infant  Jesus  Asleep 
on  the  Cross,  Education  of  the  Virgin ;  Adoration 
of  the  Shepherds ;  and  St.  Elizabeth  of  Hungary. 

Theophile  Gautier  particularly  admired  in  the 
Prado 

"  three  pictures  by  Murillo, — the  Foundation  of  Santa 
Maria  May  or  a  (two  pictures)  and  Saint  Elisabeth  wash- 
ing the  hands  of  persons  afflicted  with  scurvy;  two  or 
three  admirable  Riberas;  a  Burial  by  El  Greco,  some  por- 
tions of  which  are  worthy  of  Titian ;  a  fantastic  sketch 
by  the  same  artist,  representing  monks  performing  differ- 
ent acts  of  penance,  and  surpassing  the  most  mysterious 
and  gloomy  creations  of  Lewis,  or  Anne  Radcliffe ;  and 
a  charming  woman  in  Spanish  costume,  lying  on  a  divan, 
by  the  good  old  Goya,  that  pre-eminently  national  painter, 
who  seems  to  have  come  into  the  world  expressly  to  col- 
lect the  last  vestiges  of  the  ancient  manners  and  customs 
of  his  country,  which  were  about  to  disappear  forever." 

Of  the  St.  Elizabeth,  he  says : 

"  It  will  be  noted  that  however  much  her  charity  enno- 
bles these  horrors,  her  woman's  eye  dares  not  look  on 
them,  but  her  royal  hand  heals  them.  Her  beautiful, 
almost  divine  head,  contrasts  wonderfully  with  that  of  the 
beggar-hag  in  the  foreground." 

"  In  St.  Elisabeth,  probably  the  most  noted  of  all  Mu- 


MADRID  449 

rillo's  pictures,  the  figures  are  simple,  free  from  affec- 
tation of  pose  and  finely  created ;  and  the  expression  of 
St.  Elizabeth  is  grave.  The  execution  throughout  is  par- 
ticularly fine,  and  the  lighting  and  colour  are  extremely 
good."— (A.  F.  C.) 

The  females  in  the  Education  of  the  Virgin 
are  probably  portraits  of  Murillo's  wife  and 
daughter. 

St.  Anne  is  seated  with  an  open  book  in  her  lap, 
and  by  her  side  stands  the  Virgin.  Above  the  lat- 
ter's  head  hover  two  angels  with  a  chaplet. 

The   Adoration   of  the   Shepherds   is   painted 

"  in  his  second  style,  hovering  between  Velasquez  and 
Ribera ;  the  drawing  is  fine  and  careful ;  observe  the  local 
colouring  and  foot  of  peasant,  and  how  the  rich  browns 
give  value  to  the  delicate  flesh  of  the  Virgin  and 
Child."— (R.  F.) 

In  El  Pajarito  (The  Little  Bird),  the  Infant 

Saviour,  fully  draped,  leans  against  the  right  knee 
of  St.  Joseph,  playfully  holding  "the  little  bird" 
from  the  reach  of  a  small  dog  "  begging  "  for  it. 
The  Virgin,  seated  at  a  table,  weaving,  suspends 
her  work  to  watch  the  scene. 

In  the  Child  Jesus  as  Shepherd,  the  Child, 
wearing  a  red  tunic  and  sheep-skin  garment,  is 
seated  on  a  rock  behind  which  are  a  fluted  column 
and  a  piece  of  broken  cornice  overgrown  with 
foliage.  His  left  arm  is  lovingly  placed  around  a 
lamb,  and  His  right  hand  holds  a  crook. 

In  the  Infant  Jesus  asleep  on  the  Cross  the 
transverse  beam  serves  for  a  pillow.  His  left 
hand  is  on  His  breast,  His  right  rests  on  a  skull 
which  is  behind  Him,  and  beneath  is  a  red  drapery. 

Murillo  painted  twenty  pictures  on  the  favourite 
dogma  of  the  Spanish  Church — the  Immaculate 


450  THE   PRADO   MUSEUM 

Conception ;  and  his  success  won  for  him  the  name 
of  el  pintor  de  las  Cqncepciones. 

"  It  is  curious  to  glance  at  the  directions  which  Pacheco 
'  the  law  giver  of  Sevillian  art '  laid  down  for  the  treat- 
ment of  this  all-important  subject.  Our  Lady's  eyes  are 
to  be  turned  to  Heaven  and  her  arms  are  to  be  meekly 
folded  across  her  bosom ;  that  the  mantling  sun  is  to  be 
expressed  by  bright  golden  light  behind  the  figure ;  the 
pedestal  moon  is  to  be  a  crescent  with  downward  pointing 
horns ;  and  the  twelve  stars.  The  idea  of  the  '  holy 
woman  clothed  with  the  sun  and  with  the  moon  under 
her  feet  and  having  upon  her  head  a  crown  of  twelve 
stars '  is,  of  course,  derived  from  a  vision  in  the  Apo- 
calypse, but  '  in  this  gracefullest  of  mysteries '  it  was 
presently  enjoined  that  '  Our  Lady  is  to  be  painted  in  the 
flower  of  her  age,  from  twelve  to  thirteen  years  old,  with 
sweet  grave  eyes,  a  nose  and  mouth  of  the  most  perfect 
form,  rosy  cheeks,  and  the  finest  streaming  hair  of  golden 
hue;  in  a  word,  with  all  the  beauty  that  a  brush  can  ex- 
press '  .  .  .  The  Virgin's  robe  covering  her  feet  with 
decent  folds  must  be  white,  and  her  mantle  blue,  and 
round  her  waist  must  be  tied  the  cord  of  St.  Francis.  This 
is  the  reason  for  the  directions ;  in  this  guise  the  Virgin 
appeared  to  the  noble  nun  of  Portugal,  who,  in  1511, 
founded  a  religious  order  of  the  Conception  at  Toledo. 
Except  that  Murillo  commonly  dispenses  with  the  Fran- 
ciscan cord  and  the  crown  of  stars,  and  takes  the  liberty 
of  reversing  the  horns  of  the  moon.  As  for  those  sturdy 
zephyrs  of  Christian  mythology,  they  are  also  provided  for 
by  Pacheco,  who  decides  that  they  are  to  hover  above  the 
figure  bearing  emblematic  boughs  and  flowers." — (A.F.C.) 

Four  great  examples  are  in  this  gallery.     In  one 
of  the  finest, 

"  the  Virgin  stands,  looking  front,  in  the  hollow  of  a 
cresent  with  one  horn;  the  palms  of  the  hands  touch  be- 
fore her  left  shoulder;  her  mantle  on  her  left  descends  to 
her  feet  and  falls  over  the  crescent;  on  her  right,  it  floats 
out  boldly;  beneath  are  four  cherubs,  all  holding  flowers, 
etc. ;  the  one  on  the  right  is  on  his  back,  and  in  his  hands, 
which  are  spread  apart,  he  holds  a  long  palm-branch 
balanced  across  his  body;  four  heads  in  each  corner 
above."— (C.  B.  C.) 


MADRID  451 

Los  Ninos  de  la  Concha  (the  Children  of  the 
Shell)  and  the  Child  St.  John  are  both  beautiful 
child-studies  with  landscape  background. 

"  In  his  landscapes,  Murillo  again  surprises  us  by  a 
new  use  of  colour — pale  greys  so  much  truer  than  the  sun- 
light of  melting  yellow  in  which  he  loved  to  steep  his 
religious  compositions.  Once  or  twice  we  are  held  by  a 
suggestion  of  coming  rain  in  some  sky;  by  the  cool  dark 
green  in  the  vegetation. — (A.  F.  C.) 

Here  may  be  seen  two  excellent  examples :  One, 
representing  a  mountainous  country  where  a  river 
passes  with  ruins  on  its  steep  banks.  Four  figures 
enliven  the  scene — one  is  a  peasant  who  is  direct- 
ing a  traveller. 

The  other  is  a  rocky  shore  with  trees  and  build- 
ings ;  and  in  the  distance  a  fortress  and  a  bridge. 
In  the  middle  distance  a  sailor  is  carrying  some 
luggage  to  a  vessel. 

There  are  six  works  by  Francisco  Ribalta,  and 
fifty-three  by  Ribera,  chief  of  which  is  the  Mar- 
tyrdom of  St.  Bartholomew. 

"  How  one  feels  the  stretched  sinews  of  the  men  as  they 
strain  to  raise  the  body  of  the  tortured  saint.  Gaze  long 
enough  upon  the  canvas  and  the  figures  will  appear  to 
move ;  the  effort  represented  is  so  united  and  so  real  that 
involuntarily  one  pictures  the  result.  The  fluency  of  the 
lines  and  the  balance  of  the  colours — black  shadows  and 
warm  browns  contrasted  with  the  ivory  of  whites  and  the 
pale  quality  of  blues — give  this  work  a  high  place  among 
Ribera's  compositions.  Equally  fine  in  their  drawing, 
though  far  behind  in  their  colour,  are  his  Prometheus 
Chanted  on  the  Summit  of  the  Caucasus  and  Ixion  on 
the  Wheel.  Both  are  pictures  eminently  characteristic  of 
RiberaV— (A.  F.  C.) 

Other  works  in  the  Sala  de  Ribera  include : 
Two  Women  Fighting,  two  pictures  of  Magda- 
len, the  Child  Jesus  with  St.  Joseph,  the  En- 
tombment, a  fine  Conception  of  the  Virgin,  and 
Jacob's  Dream. 


452  THE   PRADO   MUSEUM 

Of  Zurbaran,  we  have  fourteen  pictures.  One 
of  these  is  the  Child  Jesus  Sleeping  on  the  Cross. 
Several  paintings  of  male  saints  also  show  this 
master  at  his  best. 

Passing  by  the  followers  of  Velasquez  and 
Murillo,  we  reach  Goya,  with  his  Caprichos,  bull- 
fights, disasters  of  war  and  great  portraits,  in- 
cluding the  Family  of  Charles  IV. 

Raphael  has  ten  pictures  here,  the  most  re- 
nowned of  which  is  the  Holy  Family,  called  the 
Pearl. 

"  The  phrase  by  which  Philip  expressed  the  impression 
produced  upon  him  by  this  smiling  picture  does  indeed 
give  a  just  idea  of  the  kind  of  merit  that  characterizes  it 
and  the  perfection  that  distinguishes  it.  Among  all  Ra- 
phael's works,  there  is  nothing  more  finished  nor  more 
pure.  In  it  we  see  united  all  the  truth,  spirit  and  delicacy 
that  the  brush  of  this  master  could  express. 

"  The  scene  is  entirely  gracious  in  manner.  The  little 
St.  John,  lifting  with  both  hands  the  shaggy  skin  that 
serves  as  his  vestment,  is  presenting  some  fruit  to  the 
Infant  Jesus  in  the  kind  of  basket  thus  formed.  About  to 
take  it,  Jesus,  sitting  on  his  mother's  knees,  turns  round 
towards  her,  smiling  as  if  to  communicate  his  joy  to  her. 
Mary  is  supporting  him  with  her  right  hand,  while  her 
left  reaches  out  and  rests  upon  St.  Anne's  shoulder,  while 
at  the  same  time  she  is  looking  affectionately  at  the  Fore- 
runner. Anne,  on  her  knees,  with  one  elbow  leaning  on 
her  daughter's  left  thigh,  gives  herself  up  to  meditation 
as  she  watches  the  two  children.  The  cradle  stands  in 
front  of  the  Virgin,  who  rests  one  foot  on  each  side  of  it. 

"  The  character  which  Raphael  has  generally  given  to 
the  Infant  Jesus  is  one  of  the  most  poetic  conceptions  of 
this  great  master.  The  type  is  that  of  an  infant  Hercules. 
The  extremities,  however,  are  more  delicate  and  the  con- 
tours are  finer.  In  the  movements  as  well  as  in  the  fea- 
tures of  this  extraordinary  being,  we  see  a  superabundance 
of  power  accompanied  by  an  inexpressible  grace. 

"  The  colouring,  although  slightly  darkened  by  time, 
still  preserves  a  ravishing  vigour,  skill  and  harmony, 
are  parts  in  it  that  the  Venetian  schools  could  never 


HOLY  FAMILY  "THE  PEARL"— Raphael 

THE   PRADO 


MADRID  453 

have  surpassed.  The  flesh  tints  of  the  Infant  Jesus  are 
as  brilliant  as  the  outlines  of  his  figure  are  pure,  and  the 
movements  lively  and  graceful.  The  delicacy  of  the  brush 
here  is  almost  prodigious ;  and  this  in  a  master  the  ele- 
vation of  whose  ideas  so  often  distracted  him  from  the 
minute  cares  of  execution.  Amid  the  strongest  shadows, 
all  the  relief  of  nature  forces  our  admiration.  The 
landscape,  adorned  with  figures,  charms  the  eye  with  the 
precision  of  its  details  and  the  transparency  of  its  dis- 
tances ;  and  in  the  depths  of  the  ruined  edifice,  where  St. 
Joseph  is  visible,  a  soft  and  silvery  light  plays. 

"  A  masterpiece  of  taste,  this  picture  contains  all  the 
kinds  of  perfection  proper  to  the  subject;  and  the  most 
severe  criticism  would  find  difficulty  in  discovering  any 
negligences  in  it.  The  composition,  the  design,  the  ex- 
pression and  the  colour  present  an  almost  perfect  merit  in 
every  part." — (F.  A.  G.) 


The  Virgin  of  the  Fish  owes  its  name  to  the 
fish  hanging  from  the  wrist  of  Tobit,  whom  an 
angel  is  presenting  to  the  Virgin  and  Child. 

"  By  the  simultaneous  presence  of  the  youthful  Tobit, 
the  angel  and  St.  Jerome  at  the  foot  of  the  Madonna's 
throne,  Raphael,  anticipating  the  decision  of  the  Council 
of  Trent  by  about  thirty  years,  maintains  the  Ninevite 
captive  in  the  rank  of  the  prophets  and  proclaims  the 
canonicity  of  the  version  to  which,  moreover,  Rome  has 
pinned  her  faith  in  all  ages.  Tobit,  still  a  child,  comes 
trembling  before  the  Saviour.  Before  recognizing  the 
prophet's  mission,  the  Virgin  hesitates,  and  thus  recalls 
the  hesitation  of  the  Church.  The  Infant  Jesus,  on  the 
contrary,  resolutely  pronounces  in  favor  of  Tobit,  and  with 
a  gesture  confirms  the  authenticity  of  the  Book  admitted 
by  St.  Jerome. 

"  The  Virgin  with  the  Infant  Jesus  is  the  principal 
figure  of  the  picture.  Seated,  she  holds  her  divine  Son  in 
both  arms  and  seems  to  be  trying  to  restrain  His  eager- 
ness to  go  to  the  young  Ninevite  captive.  The  reserved 
attitude  of  the  head,  the  gaze  so  calm  in  its  investigation, 
the  mouth  ready  to  soften,  but  still  immobile  and  mute, 
the  prudent  movement  of  the  body  and  the  arms,  all  re- 


454  THE   PRADO   MUSEUM 

veal  Mary's  hesitation  in  recognizing  the  vocation  of  the 
prophet.  Nothing  could  be  more  severe  or  graceful  than 
this  whole  effect  in  which  the  colour  is  in  harmony  with 
the  simplicity  of  line.  The  fresh  and  transparent  rose 
of  the  flesh  and  the  blonde  of  the  hair  are  in  enchanting 
accord  with  the  white  of  the  veil  and  the  two  blues  of 
the  robe  and  mantle.  A  masterly  hand,  and  one  sure  of 
itself,  has  broadly  disposed  rapid  effects  that  yet  have 
nothing  abrupt  in  them,  and  co-ordinated  the  colours  in 
accordance  with  the  mysterious  laws  of  the  noblest  har- 
mony. Vasari  has  said :  '  Raphael  has  shown  what 
beauty  can  be  put  into  the  face  of  a  Virgin,  by  giving 
modesty  to  the  eyes,  honour  to  the  brow,  grace  to  the 
nose,  and  virtue  to  the  mouth/  No  Virgin  merits  this 
eulogy  more  than  this  one. 

"  The  Infant  Jesus  completes  and  explains  the  intent  of 
the  picture  with  a  vivacity  of  expression  and  a  spontaneity 
of  movement  that  are  decisive  and  irresistible.  He  recog- 
nizes Tobit  as  one  of  his  own,  and  tries  to  spring  towards 
him.  While  with  his  left  hand  and  arm  reaching  backward 
and  lying  in  St.  Jerome's  bible  he  affirms  the  authenticity 
of  the  Scripture,  with  his  right  hand  extended  forward  he 
seems  to  want  to  draw  Tobit  towards  him,  to  hold  and 
caress  him.  His  head  also  leans  towards  Tobit  and  rests 
gently  against  the  Virgin's  cheek ;  he  wants  to  influence  his 
Mother  and  make  her  also  decide  in  favor  of  the  Ninevite 
captive.  The  countenance  of  this  Infant  Jesus  is  serious, 
serene  and,  like  the  Virgin's,  perfectly  kind.  The  naked 
body  is  drawn  and  modelled  with  perfection:  it  is  nature 
herself  with  the  spontaneity  of  her  movements  and  her 
gestures.  But  what  elegance  there  is  in  the  form,  and 
what  discernment  in  the  choice  of  the  precise  moment 
when  the  real  touches  the  ideal !  The  colour  is  also  de- 
lightful :  it  is  impossible  to  imagine  a  brush  more  supple, 
learned,  free,  scrupulous,  or  independent. 

"  Tobit  bows  at  the  Madonna's  feet.  He  is  a  charming 
youth,  viewed  in  right  profile,  in  an  attitude  at  once  re- 
spectful, timid  and  confiding.  His  head,  very  animated 
and  very  warm  in  tone,  is  of  rare  beauty.  Long  curls  of 
golden  blonde  fall  upon  his  shoulders.  His  gaze  fixed  on 
the  Word,  is  full  of  light,  his  lips  part,  desiring,  but  not 
daring,  to  speak.  Gratitude  and  admiration  give  an  ex- 
pression to  the  face  in  which  we  are  forced  to  recognize 


MADRID  455 

something  more  beautiful  than  nature.  Raphael  put  his 
whole  heart  into  this  delightful  figure. 

"  The  angel  possesses  a  still  grander  beauty.  Seen  also 
in  right  profile,  with  body  bending  forwards  above  Tobit, 
and  head  stretched  towards  the  Virgin,  he  keeps  behind 
the  youthful  prophet  whom  with  his  left  hand  he  presents 
to  the  Saviour,  pushing  him  forward  with  his  right  hand 
towards  the  divine  group.  The  gaze,  the  mouth  and  all 
the  features  of  this  face  burn  with  the  saintliest  ardour, 
and  are  almost  adorable  in  their  adoration.  The  flesh 
glows  with  a  lively  and  almost  Venetian  colouring.  The 
hair,  of  a  somewhat  dark  blonde,  falls  away,  leaving  bare 
the  temples,  ear  and  cheek,  at  the  same  time  rising  so  as 
to  form  a  sort  of  flame  at  the  top  of  the  brow. 

"  The  face  is  so  serene ;  it  possesses  such  divine  ardour 
and  such  real  fervour,  and  seems  to  be  almost  intoxicated 
with  divine  love.  Never  has  painting  produced  such  a 
beautiful  angel.  Nothing  can  be  more  harmonious  than 
the  disposition  of  the  colours  in  this  picture.  The  colour- 
ing of  the  heads  is  fresh,  dazzling  and  entirely  appropriate 
to  the  age,  character  and  condition  of  each.  The  draperies, 
always  of  simple  shades,  preserve  a  perfect  equilibrium 
of  tonality  with  the  flesh-tints,  and  form  oppositions  among 
themselves  of  equal  softness  and  sonority.  The  blue 
mantle  and  white  veil  of  the  Virgin,  the  two  neighbouring 
yellows  of  the  robes  of  Tobit  and  the  angel,  the  strong 
red  of  St.  Jerome's  vesture  and  the  no  less  vivid  blue  of 
the  sky, — all  these  different  notes,  which  seem  exclusive 
on  account  of  frankness  and  brilliance,  vibrate  with  in- 
tensity and  especially  in  harmony,  melt  into  and  join  one 
another  without  any  violence,  and  over  these  modulations 
the  green  curtain  is  thrown  like  a  deep  holding-note  which 
serves  as  a  bond  for  all  these  parts  of  the  same  chant." — 
(F.  A.  G.) 

The  Spasimo  is  a  representation  of  Christ 
Bearing  the  Cross.  It  has  had  a  romantic  his- 
tory, suffering  shipwreck  on  its  way  to  Palermo. 
According  to  Vasari 

"  everything  perished,  men  and  cargo  alike ;  nothing  but 
this  picture  escaped.  Carried  by  the  billows  into  the  Gulf 
of  Genoa,  the  case  containing  it  was  found  and  brought 


456          ,  THE   PRADO   MUSEUM 

to  land ;  then,  on  this  divine  work  being  discovered  intact, 
free  from  the  slightest  stain  or  blemish,  it  was  resolved 
to  preserve  it  with  care.  It  seemed  as  if  winds  and  waves 
had  determined  to  respect  its  beauty.  The  noise  of  this 
event  spread  far  and  wide,  and  the  monks  soon  hearing 
of  it,  endeavoured  to  gain  possession  of  their  picture, 
which  was  restored  to  them  through  the  intervention  of 
the  Pope,  when  they  liberally  remunerated  the  salvors. 
Again  placed  on  board  ship,  and  carried  to  Sicily,  the 
picture  was  set  up  at  Palermo,  where  it  became  more 
famous  than  the  mountain  of  Vulcan." 

Philip  IV.  carried  the  Spasimo  secretly  to 
Madrid,  granting  the  monks  a  revenue  of  a  thou- 
sand scudi  to  keep  silence.  The  French  carried  it 
to  the  Louvre,  and  while  in  Paris  it  was  trans- 
ferred from  its  worm-eaten  panel  to  canvas  and 
much  repainted.  It  was  again  repainted  in  Madrid 
in  1845. 

"  The  artist  has  chosen  the  moment  when  Christ  is 
sinking  beneath  his  burden,  and  the  Virgin,  overcome 
with  grief,  helplessly  stretches  out  her  arms  to  her  Son. 
The  expression  of  these  two  faces  is  admirable ;  in  that  of 
Christ  a  touching  resignation  is  combined  with  the  physi- 
cal suffering,  while  the  mother's  features,  on  the  other 
hand,  show  naught  but  grief.  The  despair  of  the  holy 
women  is  rendered  with  no  less  eloquence,  and  forms  a 
most  striking  contrast  to  the  roughness  of  the  execu- 
tioners."—(E.  M.) 

The  Visitation  was  painted  between  1517  and 
1519.  It  is  supposed  that  Giulio  Romano  aided  in 
this  work.  St.  Elizabeth  advances  to  meet  the  Vir- 
gin, whom  she  takes  by  the  hand.  The  land- 
scape is  very  fine. 

It  is  in  the  Portrait  of  a  Cardinal  (supposedly 
Giulio  de'  Medici)  you  see  Raphael's  work  at 
its  highest. 


MADRID  457 

"  With  what  clarity  of  mind  and  art  he  has  painted  that 
unknown  figure,  how  perfectly  he  has  expressed  every- 
thing, simply  concealing  the  subtlety  of  his  art !  It  is  al- 
most a  miracle  of  simplicity,  living  there  in  the  beautiful 
painted  panel  by  some  means  hidden  from  all,  about 
which  we  may  know  nothing,  perfect  as  a  flower,  or  any 
other  thought  of  God."— (E.  H.) 

The  Equestrian  Portrait  of  Charles  V.  at  the 
Battle  of  Muhlberg  was  painted  in  1548,  when 
Titian  was  seventy  years  old. 

"  In  a  rich  and  beautiful  landscape,  on  the  verge  of 
certain  sweet  miles  of  park,  the  Emperor  rides  alone  to 
battle.  With  what  sadness  he  seems  to  go,  like  a  solitary 
prisoner,  the  prisoner  of  himself  in  his  own  dream  of  a 
world !  How  melancholy  is  that  pallid  grey  face,  hardened 
by  ambition  and  the  inevitable  sacrifice  that  one  must 
make  in  order  to  realise  even  the  tiniest  of  our  dreams ! 
He  sits  his  horse  easily,  is  indeed  perfectly  a  part  of  it, 
firmly  grasping  his  spear.  An  immense  dignity,  the  tragic 
splendour  of  all  his  House  seems  to  isolate  him  almost 
from  the  world,  to  thrust  upon  him  divine  honours.  He 
is  so  alone  that  we  are  made  affaid.  .  .  .  Titian  is  at 
his  greatest  in  this  miraculous  work,  perhaps  the  finest 
picture  in  the  gallery." — (E.  H.) 

Another  likeness  of  this  King  is  also  a  master- 
piece. 

"  We  see  Charles  V .  in  a  gala  costume  of  white ;  his 
right  hand  rests  upon  a  dagger,  his  left  is  placed  upon  the 
collar  of  a  great  hound ;  and  how  intimate  and  soul- 
searching  is  the  summing  up  of  the  personality  of  that 
great,  tired  life.  Deep,  delicate  and  deliberate,  this  por- 
trait is  one  of  Titian's  triumphs ;  it  ranks  among  the  great- 
est portraits  of  the  world." — (A.  F.  C.) 

Prince  Philip  (1550)  is  also  one  of  the  most 
wonderful  of  portraits.  It  was  sent  to  England 
when  the  marriage  of  Philip  with  Mary  Tudor 
was  being  arranged. 


458  THE   PRADO   MUSEUM 

"  Knowing  the  type  of  Philip's  face  and  the  blemishes 
of  his  figure,  we  should  think  it  hard  for  a  painter  to  real- 
ize a  portrait  of  him  true  to  nature,  yet  of  elevated  con- 
ception and  regal  mien.  Titian  overcomes  the  difficulty 
with  ease.  The  sallow  ill-shaped  face  may  haunt  us  and 
suggest  uneasy  forebodings  as  to  the  spirit  and  temper  of 
the  man,  but  gloom  here  is  cleverly  concealed  in  grave 
intentness,  and  every  line  tells  of  the  habitual  distinction 
of  a  man  of  old  blood  and  high  station.  The  head  stands 
out  from  the  gorget  relieved  by  a  frill  of  white  linen,  be- 
neath which  the  handsome  collar  of  the  Golden  Fleece  falls 
to  the  chest.  A  breastplate  and  hip  pieces  richly  inlaid 
with  gold  cover  the  frame  and  arms.  The  fine  embroidery 
of  the  sleeves  and  slashed  hose,  the  white  silk  tights  and 
slashed  white  slippers,  form  a  rich  and  tasteful  dress. 
The  ringed  left  hand  on  the  hilt  of  the  rapier,  the  right  on 
the  plumed  morion  which  lies  on  a  console  covered  with 
a  crimson  velvet  cloth,  the  whole  figure  seen  in  front  of 
a  dark  wall — all  this  makes  up  a  splendid  and  attractive 
full-length  standing  on  a  carpet  of  a  deep  reddish  brown." 
-(G  J.) 

The  Venus  and  Adonis  was  a  companion  to  the 
Danae,  and  was  sent  to  Philip  II.  in  London 
about  three  months  after  his  marriage  to  Mary 
Tudor. 

Philip  appears  in  La  Gloria,  a  picture  that  his 
father  always  kept  with  him. 

"  It  is  really  as  the  son  of  Charles  V.,  passionate  about 
nothing  save  God  as  it  were,  that  he  appears  to  us  with 
his  father  and  Isabella  of  Portugal,  in  that  strangely 
beautiful  picture,  La  Gloria,  where  before  the  Holy  Trinity, 
among  a  crowd  of  saints  and  martyrs,  the  King  of  Spain, 
the  Emperor  of  Rome,  wrapped  in  a  winding-sheet  with 
his  crown  at  his  feet,  really  just  risen  from  the  dead, 
worships  the  Omnipotent  and  Divine  God,  the  mysterious 
Trinity  that  seems  to  have  haunted  both  father  and  son 
so  unfortunately  almost  all  their  lives.  Much  that  is 
strange  in  this  immense  picture  so  full  of  energy,  the 
equal  Majesty  of  Father  and  Son,  for  instance,  their  aloof- 
ness from  humanity,  may  be  explained  perhaps  as  the  will 


THE  IXFAXTA  ISABELLA  CLARA  EUGENIA— Coello 

THE   PRADO 


MADRID  459 

of  Charles,  here,  for  once  at  any  rate,  imposing  itself  on 
the  old  painter." — (E.  H.) 

Danae, 

"  in  spite  of  the  superb  painting,  very  beautiful 
and  sensitive  in  its  quality,  repels  us  not  a  little;  not  per- 
haps for  its  coarser  realism,  but  because  we  miss  that  sug- 
gestion of  joyous  passion  that  lives  perfectly  in  the  painted 
poems  of  the  Garden  of  Venus  and  the  Bacchanal.  And 
for  this  reason  we  turn,  too,  from  the  so-called  Farnese 
and  his  Mistress  and  from  the  Venus  with  the  Young 
Man  playing  an  Organ.  And  here  there  is  no  magic  in 
the  paint  itself  to  charm  us;  these  pictures  were  painted 
for  money  and  are  poor  variations  of  the  Venus  of  the 
Tribune.  But  in  the  sacred  picture  of  St.  Margaret,  and 
in  the  much  greater  Entombment,  one  finished  two  years 
before  the  other  in  the  same  period  as  the  Danae,  we  find 
again  the  Titian  of  our  love.  In  the  solitude  of  a  lovely 
landscape,  St.  Margaret  waits  for  a  moment,  in  a  passion- 
ate attitude  of  hope,  as  she  flees  from  the  dragon  over  the 
rocks.  We  have  here  an  epitome  of  Titian's  rarest  quali- 
ties— his  passion,  breathing  the  very  spirit  of  life,  and  his 
superb  unconsciousness  of  effort." — (A.  F.  C.) 

A  repetition  of  the  figure  known  as  Titian's 
daughter,  Lavinia,  appears  here  as  Salome  bear- 
ing in  her  raised  arms  the  head  of  John  the  Bap- 
tist on  a  silver  dish.  She  is  younger  than  the  fig- 
ure in  the  Berlin  picture;  her  arms  are  bare;  and 
she  wears  instead  of  yellow,  a  dress  of  red  dam- 
ask. Some  critics  think  this  was  painted  by  one 
of  Titian's  followers  from  the  Lavinia  of  Berlin 
(see  page  220). 

A  Maltese  Knight  represents  a  man  in  black, 
the  vest  embroidered  with  a  Greek  cross. 

"  This  noble  portrait  has  not  yet  been  identified.  It 
has  lost  some  of  its  delicate  finish  in  the  head,  but  is  still 
a  very  fine  example  of  the  master's  middle  time.  Par- 
ticularly admirable  is  the  way  in  which  the  black  dress  is 
detached  on  the  lighter  yet  still  gloomy  background."— 
(C.  and  C.) 


460  THE   PRADO   MUSEUM 

In  the  Garden  of  Venus 

"  we  see  an  immense  crowd  of  little  Loves,  winged 
really  with  the  wings  of  the  sky,  playing  together  furiously 
beneath  great  trees  in  a  garden  before  the  statue  of  Venus. 
It  is  as  though  you  heard  an  exquisite  incomprehensible 
laughter  in  the  woods  at  midday.  Two  women  are  just 
within  the  picture ;  one  is  about  to  fling  herself  before  the 
statue  in  some  joy  of  mad  worship ;  the  other,  more 
serious,  less  frantic,  looks  away  as  though  doubtful  of  her 
desire."— (E.  H.) 

"  The  Bacchanal,  spoiled  by  some  too  brutal  process  of 
restoration,  is  even  to-day  one  of  the  great  treasures  of 
the  gallery,  full  of  the  immense  joy  and  strength  of  youth, 
of  youth  that  is  about  to  pass  into  maturity  and  is  sure 
of  itself  at  last,  just  for  a  moment  before  it  has  gone  for 
ever.  '  Chi  boist  et  ne  reboit,  ne  gais  que  bois  soit '  he 
has  written  on  the  leaf  of  music  that  is  spread  out  before 
the  beautiful  woman  who  holds  a  bowl  aloft  to  be  filled 
with  wine.  What  is  this  company  of  men  and  women  that 
has  passed  singing  over  the  hills  and  is  come  to  the  sea- 
shore? In  the  background  a  naked  figure,  shaggy  and 
splendid,  has  fallen  upon  the  primitive  wine-press,  and 
the  juice  of  the  grapes  pressed  by  his  weight  flows  down 
to  the  sea.  It  is  from  this  purple  stream  they  are  drink- 
ing as  they  dance  or  throw  themselves  on  the  ground  in 
the  shadow  of  the  trees.  Who  are  they  that  are  so  joy- 
ful on  a  summer's  day,  so  thirsty  in  the  genial  heat? 
And,  above  all,  who  is  she,  that  beautiful  nude  woman 
whom  they  seem  to  have  come  upon  by  chance  as  it  were, 
while  she  is  wrapped  in  'a  passion  of  sleep  '?  The  picture 
is  like  a  gesture  of  joy,  irresistible  in  its  beauty  and  de- 
light, that  is  about  to  be  interrupted  by  an  irreparable  dis- 
aster."—(E.  H.) 

A  lovely  Virgin  and  Child  with  attendant 
saints  is  attributed  to  Giorgione. 

"  A  charming  combination  of  Palmesque  and  Titian- 
esque  features  is  the  Madonna  with  saints,  where  the  Child 
on  the  Virgin's  lap  plays  with  the  flowers  held  up  by  a 
lovely  maiden,  and  a  saint  in  armour  unfurls  the  banner 
of  his  order.  We  shall  not  easily  find  a  Venetian  work 


MADRID  461 

of  the  good  school  more  attractive  for  freshness  and 
blending  or  tender  richness  of  tints,  or  one  in  which 
a  more  winning  Titianesque  grace  adorns  the  Ma- 
donna."—(C.  and  C.) 

Paul  Veronese  appears  in  all  his  splendour  in 
the  Marriage  of  Cana;  Christ  at  the  Column; 
Christ  and  the  Centurion,  fine;  Rebecca  at  the 
Well,  and  Moses  found  in  the  Nile,  a  charming, 
gay  cabinet  picture,  ascribed  by  some  critics  to 
Tintoret  Giorgione. 

In  the  Moses,  Pharoah's  Daughter,  with  her  at- 
tendants, is  sumptuously  dressed  as  a  Venetian 
lady  in  rich  brocade,  and  stands  under  a  tree 
looking  with  interest  at  the  child  brought  to  her 
in  a  cloth. 

Admirable  also  is  Venus  and  Adonis,  a 
picture  of  great  repose  and  effect,  the  flesh  and 
rich  draperies  of  which  are  equal  to  Titian. 
Painted  in  an  entirely  different  mood  is  Cain, 

"  an  outcast  with  his  family,  a  magnificent  composition,  a 
picture  of  a  man's  despair,  consoled  by  a  true  wife,  who 
will  not  desert  the  father  of  her  children :  the  brown  land- 
scape, lowering  sky  and  breaking  halo  are  in  sombre  har- 
mony with  the  sentiment." — (R.  F.) 

Correggio's  Noli  me  tangere  (1519)  is  world- 
renowned. 

"  In  a  charming,  richly-wooded,  mountainous  landscape, 
Magdalen  is  kneeling,  attired  in  rich  and  flowing  raiment, 
still  looking  the  beautiful  sinner,  while,  not  less  lovely  in 
appearance,  the  Redeemer  is  advancing  towards  her  with 
a  light  step.  Vasari  says  it  was  impossible  to  imagine 
anything  better  and  more  softly  painted." — (J.  M.) 

Bassano  (Jacopo  da  Ponte)  has  nearly  a  dozen 
pictures  here :  most  of  them  are  of  large  size. 
With  him,  animals  constitute  the  principal  part  of 


462  THE   PRADO   MUSEUM 

the  composition.  One  of  these  subjects  is  the 
Entrance  into  the  Ark,  into  which  all  kinds  of 
living  creatures  are  marching.  A  companion  is 
Leaving  the  Ark. 

There  is  also  View  of  Eden,  in  which  the  Al- 
mighty reproaches  our  first  parents  with  their  dis- 
obedience, the  subject  being  a  mere  pretext  for 
assembling  around  them  all  the  animal  races;  also 
an  Orpheus  attracting  wild  beasts  with  his  lyre; 
a  Journey  of  Jacob,  a  picture  of  camels,  horses, 
asses  and  mules,  etc.  The  style  of  Bassano  is 
more  elevated  in  his  Moses  and  the  Hebrews, 
which  represents  the  people  resuming  their  march 
after  the  miracle  of  the  water  gushing  from  the 
rock;  but  he  attained  the  highest  grandeur  in  the 
painting  of  Christ  Driving  the  Money-Chang- 
ers  from  the  Temple. 

"  This  picture  is  perhaps  the  finest  of  all  the  works  of 
Bassano.  Never  has  he  shown  himself  more  ingenious 
and  animated  in  the  composition,  more  natural  and  bril- 
liant in  the  colouring;  and  never  has  he  displayed  more 
fully  the  various  qualities  of  the  painter  who  first  intro- 
duced into  Italy  the  worship  of  simple  nature,  and  painted 
scenes  of  real  life." — (L.  V.) 

Andrea  del  Sarto  has  six  pictures  here,  the 
Sacrifice  of  Isaac  being  noteworthy,  but  not  par- 
ticularly original  in  treatment.  The  best  of  his 
talent,  however,  appears  in  the  portrait  of  his  faith- 
less wife,  Lrucrezia  della  Fede. 

"  It  is  one  of  the  most  beautiful  portraits  of  a  woman 
that  I  can  remember.  The  beauty  of  the  model — idealised 
perhaps  by  love — the  grace  of  the  position,  the  exquisite 
taste  in  the  dress,  and  the  wonderful  execution  of  the 
whole,  combine  to  render  this  picture  interesting  in  the 
history  of  painting.  It  has  a  double  title  to  be  so,  as  it 
is  the  type  of  all  the  women  painted  by  Andrea,  even  of 


MADRID  463 

his  Madonnas,  and  also  it  is  a  masterpiece  in  his  style."— 
(L.  V.) 

"  The  famous  Madonna  and  St.  John  (Asunto  Mistico) 
also  shows  Sarto  at  an  unusual  height  of  power.  The 
grouping  is  managed  with  much  more  than  his  wonted 
thought;  and  the  whole  composition  breathes  an  air  of 
restraint  that  compels  a  sincere  tribute  to  its  beauty. 
Then,  despite  retouching,  we  can  appreciate  in  its  cool  and 
luminous  colours,  and  especially  in  the  beautiful  land- 
scape, that  mastery  of  the  oil  medium  with  which  the 
painter  astonished  the  Florentines." — (A.  F.  C.) 

The  only  important  works  by  early  Italian  mas- 
ters are  the  Annunciation,  by  Fra  Angelico,  and 
the  Death  of  the  Virgin,  by  Mantegna. 

"  In  no  picture  of  the  Tuscan  master  are  we  more 
conscious  of  the  glamour  of  his  art ;  that  blithe  and  deli- 
cate spirit  that  somehow  carries  us  out  of  our  dull  grown- 
•  up  selves,  and  wafts  us  back  to  the  hours  of  childhood, 
when  angels  really  lived  for  us  and  the  world  was  full 
of  the  sounds  of  music  and  was  fair.  Fra  Angelico  and 
Mantegna  are  at  two  opposite  poles  of  emotion  and 
thought.  Here,  in  his  Death  of  the  Virgin,  we  see  the 
simplicity,  the  inwardness  and  the  deep  humility  of  Man- 
tegna's  art.  There  are  passages  of  beautiful  and  vigorous 
colour;  it  is  one  of  the  gems  of  the  Prado;  a  work  of 
quiet  and  exquisite  charm." — (A.  F.  C.) 

"  The  best  pictures  here  of  the  Flemish  School  are 
those  by  Rubens,  Van  Dyck  and  Antonio  Moro,  who  was 
long  in  Spain.  The  specimens  of  Wouvermans  are  gems 
of  purest  art,  beyond  all  price.  Those  by  Teniers,  Snyders, 
Brueghel,  P.  Neefs,  and  Both,  are  very  fine.  To  give  any 
particular  description  of  the  wilderness  of  monkeys  by 
Teniers,  of  the  dogs,  game,  kitchenware  and  dead  drunken 
Dutchmen  by  Ostade,  would  be  as  tedious  as  to  count  the 
cattle  of  the  Bassans." — (R.  F.) 

"  In  Munich,  in  Paris,  and,  of  course,  in  Antwerp, 
Rubens  is  on  a  grander  scale  than  in  Madrid ;  but  nowhere 
else  is  his  special  quality  of  vivid  joy  greater  than  here, 
where  he  seems  to  have  painted  not  so  much  for  us  as 
for  himself,  quite  naturally  as  a  bird  sings.  The  quality 
and  range  of  his  power  are  shown  to  the  full  in  his  three 


464  THE   PRADO   MUSEUM 

masterpieces  here:  the  Rondo,  and  Garden  of  Love,  with 
their  riot  of  movement  and  colour,  and,  yet  more,  in  the 
wonderful  Three  Graces,  very  beautiful  in  its  frank  and 
passionate  delight.  The  three  figures  stand  side  by  side, 
alike  in  contour,  alike  in  features,  different  only  in  the 
colour  of  the  hair, — fair,  dark-brown  and  copper-red.  The 
lovely,  shimmering  flesh  stands  out  in  exquisite  harmony 
against  the  blue  sky,  and  against  a  landscape  background 
wherein  a  herd  of  stags  are  feeding.  The  drapery  of  dark 
green  hangs  on  the  left,  the  waters  of  a  fountain  fall  into 
a  marble  basin  on  the  right;  above,  roses  are  climbing; 
and  the  turf  is  embroidered  with  flowers.  All  these  three 
pictures  take  their  place,  quite  worthily,  among  the  rare 
beauties  of  Titian,  near  whose  works  they  hang." — (A. 
F.  C.) 

"  Nothing  in  the  whole  range  of  Raphael's  portraits  sur- 
passes (Marie  de'  Medici)  for  the  marvel  of  its  character- 
isation and  its  art  alike.  It  teaches  us  more  than  a 
whole  volume  could  do  about  this  queen;  and  before  it 
we  are  conscious  that  our  impressions  of  her  as  a  foolish 
and  vain  woman  must  be  wrong.  It  is  one  of  the  finest 
portraits  of  woman  in  the  world." — (A.  F.  C.) 

The  Brazen  Serpent,  attributed  to  Van  Dyck 
by  some  critics  and  to  Rubens  by  others, 

"  is  sombre  in  colour.  Moses's  and  Eleazer's  robes  are  of 
a  blackish  grey-green ;  their  backs  are  turned  to  the  spec- 
tators, and  they  form  the  obscure  part  of  the  picture. 
Moreover,  the  tone  is  heavier  than  the  ordinary  colour- 
ing of  Rubens.  In  general  the  flesh  is  brown  or  greyish, 
except  in  the  two  women  on  the  extreme  right,  that  stand 
out  strongly  above  the  general  tonality  of  the  picture,  and 
even  the  figure  that  is  unwinding  the  serpents  does  not 
remind  us  of  Rubens.  All  these  sombre  and  firm  contours 
stand  out  strongly  against  the  clear  or  glowing  sky.  The 
whole  grouping  is  extremely  simple,  with  a  Romanesque 
character  contrary  to  the  custom  of  Rubens.  We  do  not 
hesitate  to  attribute  it  to  Van  Dyck." — (M.  R.) 

The  Adoration  of  the  Kings  is  not  a  night 
scene,  although  the  stars  are  visible.  The  scene  is 


MADRID  465 

splendidly  illumined  by  a  mass  of  the  most  varied 
tones  that  the  brush  of  the  great  colourist  ever 
brought  together,  by  the  gleam  of  silk,  gold,  jewels 
and  armour,  the  reflections  of  which  mingle  and 
produce  the  highest  and  richest  harmony.  The 
scarlet  draping  of  the  old  king  alone  sounds  a  pro- 
longed and  dominant  note ;  and  it  is  draped  and 
folded  as  was  not  customary  in  the  early  period  of 
Rubens.  The  whole  picture  makes  one  think  of 
Italy :  the  shadows,  flesh  tints,  forms,  and  draperies 
recall  the  land  the  master  had  just  left  when  he 
composed  this  superb  work  (1608). 

The  Sala  de  Retratos  has  been  called  the  great- 
est portrait  collection  in  the  world,  where  hung 
great  works  by  Rubens,  Titian,  Van  Dyck,  Diirer, 
Holbein,  Jordaens,  Velasquez,  Raphael,  Antonio 
Moro,  Moro's  pupil,  Alonso  Sanchez-Coello,  etc.. 

"  In  the  unerring,  analytic  Portrait  of  himself  Diirer  has 
given  us  of  his  art  the  most  typical  and  the  best.  Against 
a  dark  panel,  relieved  on  the  right  by  a  landscape,  very 
modern  in  feeling  and  effect,  we  see  the  beautiful  head, 
grave  but  alert,  perfect  in  physical  and  intellectual  charm. 
The  folding  of  the  expressive  hands  should  be  noted  as  an 
example  of  Diirer's  keenness  of  observation." — (A.  F.  C.) 

Hans  Imhoff  (a  Nuremberg  banker),  painted 
in  1521,  is  one  of  the  finest  of  his  works.  It  de- 
picts a  strong  man  in  hat  and  furs,  who  holds  a 
scroll  in  his  left  hand. 

Rembrandt's  sole  work  is  Queen  Artemisia 
about  to  Swallow  the  Ashes  of  her  Husband, 
which  an  attendant  is  bringing  in  a  nautilus  cup. 
Artemisia  is  supposed  to  be  a  portrait  of  Saskia. 

"The  harmony  is  high  and  cool  in  tone;  the  colour 
scheme,  as  in  the  Jewish  Bride  of  the  Hermitage,  being 
made  up  of  pale  greens  and  silvery  grays."— (E.  M.) 


INDEX   OF   PAINTINGS 


Abraham  and  Melchisedek, 
297. 

Abraham,    Calling  of,   36. 

Abraham's    Sacrifice,    250. 

Accordee   de   Village,  87. 

Adam,  95. 

Adam  and  Eve,  128. 

Admiral   Pareja,  34. 

yEneas  Hunting  the  Stag, 
106. 

Adoration  of  the  Lamb, 
207. 

Adoration  of  the  Kings, 
D.  Ghirlandaio,  407;  Ru- 
bens, 100,  464;  Veronese, 

243- 

Adoration  of  the  Magi, 
Fra  Angelico,  411;  Bot- 
ticelli, 404 ;  Thierry 
Bouts,  296;  Brueghel, 
200;  Diirer,  416;  J.  Van 
Eyck,  96;  G.  da  Fabri- 
ano,  367 ;  Francia,  252 ; 
Kulmbach,  213;  Kom- 
nick,  139;  Filippino  Lippi, 
408 ;  Mantegna,  413 ; 
Pisano,  216;  Rubens, 
116;  A  del  Sarto,  384; 
Velasquez,  447 ;  Vero- 
nese, 12;  L.  da  Vinci, 
397 ;  A.  Vivarini,  217. 

Adoration  of  the  Shep- 
herds, Codde,  170;  Cor- 
reggio,  240;  Floris,  113; 
Garofalo,  189 ;  Ghirlan- 
daio, 366;  Guido  Reni, 
191;  Jordaens,  120,  179; 
Murillo,  202,  429,  449; 
Van  Oost,  337;  Poussin, 

467 


308;  Rembrandt,  26;  Ve- 
lasquez, 34. 

Adoration  of  the  Trinity, 
3il. 

Aesop,  445 

Age  of  Innocence,  39. 

Agony  in  the  Garden,  353. 

Albert,  Archduke,  102. 

Alchymist  (Dow)  200; 
(A  Van  Ostade),  31. 

Alessandro   del   Borro,   223. 

Alexander  VI.  and  Biship 
Pesaro,  123. 

Alexander  and  Diogenes. 
43- 

Al  Fresco  Breakfast,  233. 

All  Saints,  311. 

Allegories,  Five,  341. 

Allegory  of  Avalos.   58. 

Allegory  of  War,  391. 

Almsgiving,  269. 

Alof   de    Vignacourt,   68. 

Amateur    Musicians,    134. 

Ambassadors,   The,   36. 

Amsterdam  from  the  Y. 
164. 

Anatomy  Lesson,  The,  124. 

Andrea   Vesalius,   292. 

Andromeda,  Deliverance  of, 
188. 

Angels'  Heads,  38. 

Angels'    Kitchen,    72. 

Animals   at    Pasture,   282. 

Animals  in  Repose,  269. 

Animals  in  a  Landscape, 
138. 

Animals  Sitting  in  Judg- 
ment on  the  Sportsman, 
195- 


468 


INDEX    OF    PAINTINGS 


Anne  of  Cleves,  75. 

Announcement  to  the  Shep- 
herds, 269. 

Annunciation,  The,  Fra 
Angelico,  463 ;  J.  Van 
Eyck,  200;  Cossa,  253; 
Crivelli,  12;  R.  Ghirlan- 
daio,  397 ;  Lippo  Lippi,  6; 
S.  Martini,  122;  Master 
of  the  Lyversberg  Pas- 
sion, 293 ;  P.  Pollaiuolo, 
220;  Veneziano,  317;  R. 
Van  der  Weyden,  in; 
Apostles,  Four,  294. 

Apostles,  Departure  of  The, 

293 

Apparition  of  the  Virgin 
St.  Bruno,  253. 

Archery  Festival,  330. 

Ark,  Entrance  into,  462; 
Leaving  the,  462. 

Aretino,  382. 

Architect,  an,  222. 

Ariadne  Abandoned,  178. 

Ariosto,   Portrait  of,   1 1. 

Arnolfini,  G.,  21,  209. 

Arnolfini    and    wife,   21. 

Arnould,   Sophie,  36. 

Arquebusiers  of  Amster- 
dam, 140,  147. 

Artists'   Studio,  270. 

Arundell,  Count  and  Coun- 
tess of,  301. 

As  the  Old  Ones  Sing, 
so  the  Young  Ones 
Pipe  (Jordaens),  120; 
(Steen),  151. 

Ascension,  218. 

Asiatic,   an,  278.  ' 

Assumption  of  the  Virgin 
(Botticelli),  4;  (Guido 
Reni),  292;  (Murillo), 
202;  (Perugino),  368; 
(Rubens),  101 ;  (A.  del 
Sarto),  384,  43U  (Tit- 
ian), 343. 

Autumn  Landscape,  23. 

Autumn,  220. 


Avenue  of  Ash  Trees,   160, 

166. 
Avenue    of    Middelharnais, 

32. 


Bacchanalian  Festival,  35. 
Bacchus  and  Ariadne,  9. 
Backgammon    Players,    149. 
Balthasar    Carlos,    Infante, 

325,  442,  444. 
Banquet,    Van    der    Heist's, 

146. 

Banquet  of  Dives,  353. 
Baptism      of     Christ,     371 ; 

(Francia),     251;      (Pate- 

nier),     316;     (Perugino), 

288. 

Barbaro,  Daniel,  388. 
Barber's  Shop,  275,  279. 
Bas,  Elizabeth,    168. 
Basket  of  Flowers,  308. 
Bathers,  The,  174. 
Bathsheba  at  the  Fountain, 

257- 
Battle   (Salvator  Rosa),  70, 

391;    (\vouvermans),  29. 
Battle  of  the  Amazons,  299. 
Battle  of  Arbela,  84. 
Battle  of  St    Egidio,  1-2. 
Bacchus,  Infancy  of,  277. 
Bearing  the   Cross,  315 
Beccadelli   of   Bologna,  396. 
Beggar  Boy,  73. 
Bella,  La,  373,  381,  394. 
Benedicite,  Le,  89,  175. 
Bergers  d'Arcadie,  83. 
Betrayal   of  Christ,  252. 
Bicker,    Capt.   R.,    Company 

of,  146. 

Bindo    Altoviti.   286. 
Bird,  The  Little,   449. 
Birds,   Concert   of,  200. 
Birds  in  Park,  233. 
Birth  of  Christ,  294 
Birth   of   Venus,    172,    173. 
Birth  of  the  Virgin,  72. 


INDEX   OF   PAINTINGS 


469 


Birthday       of      Prince      of 

Orange,  152. 
Boar  Hunt   (Rubens),  258; 

(Snyders     and     Rubens), 

263. 

Bohemian  Virgin,  The,  321. 
Bohemienne,   La,  81. 
Borrachos,    Las,  441. 
Bosch     near     The     Hague, 

.231. 

Bossuet,   85. 

Bouquet,  263. 

Boys    Playing   Drill,   309. 

Braganza,    26. 

Brandt,  Isabella,  128,  197. 

Brazen      Serpent      (Bruni) 

206;   (Van  Dyck),  464. 
Breakfast      (Claez),      148; 

(Metsu),  154. 
Bride,    Presentation   of  the. 

200. 

Buisson,  Le,  82. 
Bull,  The,  124,  127. 
Burgkmaier  and   Wife,  334. 
Burgomasters,     Four,      124 

129. 
Burial  of  Christ,    112.     See 

Entombment. 
Burning  of  the  Mill,  269. 


Cabinet  d' Amateur,  337. 
Calcina      altar-piece,      The 

187. 

Calligrapher   Coppenol,   279. 
Calling     of     the     Sons     of 

Zebedee,  353. 
Calm  Sea,  180,  231. 
Calvary,  March  to,  331. 
Calvary,  401. 
Campagna   near    Aqua-Ace- 

tosa,  233. 
Campo    Vaccino,    View    of 

84. 

Canal   Scene  in  Winter,  32. 
Cannon   Shot,  The,   164. 
Canterbury  Pilgrims,  44. 
Capture   of   Carthagena,    19. 


Card  Players,  The,  28. 

Card  Sharpers  (Caravag- 
gio),  254. 

Cardinal,  Portrait  of  a 
(Raphael),  456. 

Cardinal   Agucchia,  414. 

Cardinal  Bentivoglio,  389. 

Cardinal   Bibiena,  378. 

Cardinal    Fleury,    175. 

Cardinal   de   Granvelle,   325. 

Cardinal  Ippolito  de  Med- 
ici, 381-2. 

Cardinal   Richelieu,  80. 

Carpenters  Household,  The 
8l. 

Cascade  (Everdingen), 

307;  (Ruysdael),  137, 
284.  _ 

Castiglione,    Balthazar,    51. 

Castor  and  Pollux,  299. 

Cattle-Grazing  K.  du  Jar- 
din),  270;  (A.  van  der 
Velde),  270. 

Cavaliere    Tibaldeo,    432. 

Cavalcade  of  Prince  Mau- 
rice, 163. 

Celestine  and  her  Daugh- 
ter in  Prison,  203. 

Chapeau   de   Paille,  23. 

Charitable   Lady,   283. 

Charles   I.,  24,  79. 

Charles  I.  and  Henrietta 
Maria,  389. 

Charles  V.,  291,  4^7. 

Charles  the   Bold,  96,   106. 

Chase,  The,  268. 

Child  Jesus  as  Shepherd, 
449- 

Child  Jesus  Sleeping  on  the 
Cross,  452. 

Child  St.  John,  451. 

Children  with  Garland, 
301. 

Children,  204. 

Children  of  Charles  I., 
260. 

Child's    Head,    223. 

Christening,    The,    230 


470 


INDEX    OF    PAINTINGS 


Christ  a  la  Faille,   118. 

Christ  and  the  Adulteress, 
247. 

Christ  and  Magdalen,  281. 

Christ  and  the  Woman  of 
Samaria,  320. 

Christ  Appearing  to  Mag- 
dalen, 218. 

Christ  Appearing  to  the 
Virgin,  113. 

Christ  at  the  Column  (A. 
da  Messina),  354;  (Van 
Thulden),  103;  (Velas- 
quez), 34. 

Christ  Bearing  the  Cross 
(Rubens),  101 ;  (Ra- 
phael), 455. 

Christ  between  two  Thieves, 
(Snellinck),  113;  (Ru- 
bens), 115. 

Christ  Crowned  with 
Thorns  (Guido  Reni), 
254;  (Titian),  58,  291. 

Christ  Carrying  his  Cross 
(S.  del  Piombo),  189. 

Christ  disputing  with  the 
Doctors,  9. 

Christ  in  the  Garden  of 
Gethsemahe.  206. 

Christ  in  the  House  of  Si- 
mon the  Pharisee  (Ru- 
bens), 196. 

Christ,  King  of  Heaven, 
112. 

Christ,  Life  of  (Fra  An- 
gelico),  368. 

Christ  Led  away  to  be 
Crucified  ( Robert!) ,  252. 

Christ  and  the  Money 
Changers,  462. 

Christ   on    the   Cross,    117. 

Christ  on  Mount  of  Olives, 
369- 

Christ   Scourged,  431. 

Christ  with  the  Banner  of 
the  Redemption,  2-3. 

Christ's  Agony  in  the  Gar- 
den, 13. 


Church,      Interior      of      St 
Ursula's,  180. 

Circumcision  of   Christ,   4. 

Classical    Landscape 
(Claude  Lorrain),  35 

Claudius     Civilis,     Conspir- 
acy of,  172,  175. 

Clearing  in  a  Wood,  162. 

Cleopatra   Landing  at  Tar- 
sus, 84. 

Club-Foot,  The,  74. 

Cleopatra,   Banquet  of,   190. 

Cock  Fight  (Snyders),  225. 

Columbine,    The,    185. 

Combat  between   Epicurian- 
ism  and  Ascetism,  331. 

Combat    between    Hebrews 
and    Philistines,   332. 

Combat  between  Saints  and 
Demons,  351. 

Comedy,      The      (French), 

233- 

Comedy,  The   Italian,  233. 
Communion  of  St.  Francis, 

Last,  117. 
Communion  of  St.  Jerome, 

424. 
Company,       Capt.       Albert 

Bas's,    147. 
Company,  Capt.  R.  Bicker's, 

146. 

Company    of    Captain    Ban- 
ning Cock,  Sortie  of,  144. 
Concert    (Caravaggio),    70; 

(Giorg'ione;,     373,     380; 

(Spada),         70;         (Ter 

Borch),   229. 
Concert    Champetre     (Gior- 

gione),  66. 

Concerts    (John    of    Bolog- 
na), 69 
Conference    of    Fathers    of 

the  Church  regarding  the 

Trinity),  383. 
Connoisseurs   Visit,  273. 
Consecration.  214 
Cook,      Rembrandt's,       177. 

See   Stoffels,  H 


INDEX    OF    PAINTINGS 


Coresus  and  Callirhoe,  89. 

Coronation  of  the  Virgin 
.  (Fra  Angelico),  410; 
(Botticelli),  364;  (Cri- 
velli),  356;  (Fra  Filippo 
Lippi),  365;  (Q.  Massys), 
200;  (Raphael),  422; 
(Velasquez),  447. 

Corporation  pictures,  140- 
iji 

Count  Wolfgang  of  Get- 
ting, 203. 

Country  House,   154. 

Coup   de  Lance,  Le,   115. 

Cottage  Under  the  Oaks, 
308. 

Cradle,  The,  27. 

Creation  of  the  World,  The, 
206. 

Crime  Pursued  by  Justice, 
92. 

Crimps,  The,  106. 

Cristobal  de  Pernia,  445. 

Crowing  Cock,  334. 

Crucifixion,  The  (Anto- 
nello  da  Messina),  122; 
(Brueghel,  303;  (Dii- 
rer),  256;  (J.  Van 
Eyck),  209;  (Giotto), 
286;  (Filippino  Lippi), 
214  (Maitre  de  Fle- 
malle),  210;  (Mnrillo), 
202;  (Velasquez),  447. 

Cruche    Cassce,    La,  87. 

Cupid    and    Psyche,   91. 

Cupid  Unloosing  the  Girdle 
of  Venus,  206. 

Cure  of  a  Lunatic,  351. 


Danae  (Van  Dyck),  259; 
(Titian),  189,  321,  434, 
458;  (Van  Thulden), 
261. 

Dance  in  Tavern.  268 

Dance    of    Peasants,   81. 

Dancing  Lesson,  The,  150. 


Daniel,  Vision  of,  228. 

Daughter  of  R.  Strozzi,22i. 

Davalos,  The  Marquis,  284. 

David    (Pollaiuolo),  219. 

David  at  the  Cave  of  Adul- 
lam,  35. 

David  and  Bathgheba 
252. 

David  Playing  the  Harp, 
126. 

David  with  Head  of  Go- 
liath, 191. 

Dead  Christ  (P.  Veronese), 
189;  (Mantegna),  357. 

Dead  Game  (Weenix),  147. 

Dead  Game  and  Fruits, 
174. 

Dead  Hares,  147. 

Dead  Game  and  Vegeta- 
bles, 148. 

Dead  Stag  with  Fruits,  263. 

Death  of   Abel,  345. 

Death  of  the  Virgin  (Cara- 
vaggio),  70;  (Mantegna), 
463;  (Unknown  Cologne 
master),  292. 

Dejanira   Carried  off,  69. 

Delft,  View  of,  124,  138. 

Deluge,  The,  200. 

Democntes  and  Protagoras. 
190. 

Dentist,  The,  271. 

Descent  from  the  Cross 
(Fra  Angelico),  368; 
(P.  Christus).  99; 
(Early  Flemish),  99; 
(Marconi),  352;  (J.  da 
Ponte),  66;  (S.  del 
Piombo),  189;  (Rem- 
brandt). 192;  (A.  del 
Sarto),  384. 

Despatch,  The,  124,  135. 

Diana   and   Actaeon,  322. 

Diana  Hunting.  224. 

Diana  and  her  Nymphs 
224 

Diana's   Repose,  334. 

Dice  Players,  156. 


472 


INDEX   OF   PAINTINGS 


Dignity  and  Impudence,  43 

Diogenes    (Jordaens),    260; 

(Poussin),  83;    (Ribera), 

25f 

Disciples  of  Emmaus,  65. 

Dispute,  The,  383. 

Doctor   feeling   Pulse,   334. 

Doctor's  Visit,  133. 

Doctors  of  the  Church  Dis- 
puting, 190. 

Dogs'  Heads,  Four,  225. 

Donna  Velata,   380. 

Doni  A.  and  M.,  373,  379. 

Dordrecht,  View  of,  137, 
165,  179. 

Dreamer,  The,  153. 

Dropsical  Women,  The,  82. 

Duet,  The,  27,  283. 

Dune,  The,  307. 

Dunes,   In   the,   200. 

Dunes   (Cuyp),  230. 

Dutch  Burgomaster,  121. 

Dutch   Housewife,   The,  28. 

Dutch   Interiors,  28. 

Dutch  Landscape,  270. 

Dutch  Living  Room,  229. 

Dutch  Lord,  121. 

Dwarfs,  446. 


Ecce  Homo  (Correggio), 
17;  (A.  Van  Gelder), 
267;  (Titian),  321. 

Eden,  462. 

Education  of  Cupid,   18. 

Education  of  the  Virgin 
(Murillo),  449;  (Ru- 
bens), 118. 

Elector  of  Saxony,  322. 

Eleanor  of  Tuscany,  251. 

Eleanora    Gongaza,   394. 

El   Escribano,  446. 

Elijah  in  the  Desert,  210. 

Elizabeth   of  Austria,   74. 

El   Pajarito,  449. 

El   Primo,  446. 

Embarkation  of  De  Wit, 
165. 


Embarkation  of  the  Queen 
of  Sheba,  35. 

Embarkation  of  St.  Ursula, 
35- 

Embarkment  for  Cythera, 
88. 

Emmaus,   Pilgrims  of,  58. 

Entombment,  The  (A.  Car- 
racci),  69;  (Carravag- 
gio),  426;  (Van  Dyck), 
119;  (S.  Martini),  213; 
(Parmigiano),  189;  (Pe- 
rugino),385;  (Poussin), 
308;  (Titian),  58.  See 
Pietd. 

Erasmus,    76. 

Eton    College,    19. 

Eve,  95. 

Evening,  308. 

Evening  School,  148. 

Faith,    Hope    and    Charity, 

422. 
Fainting    Lady    (Van    Mie- 

ris),    304;     (E.    Van    der 

Neer),  306. 
Fall     of     the     Angels     (L. 

Giordano),  318. 
Fall  of  Man,  345. 
Fall  of  Rebel  Angels  (Flo- 

ris),  113. 
Family  Concert  (Jordaens), 

119. 
Family     Group      (Coques), 

261;   (Gainsborough),  40; 

(Lotto),  20. 
Family       Picture       (Hals), 

303. 
Family  Portraits    (Coques), 

23- 

Family  of  Darius,  12. 

Farm  (A.  Van  de  Velde), 
230;  (Teniers),  156. 

Farmyard,  194. 

Father,  Durer's  Portrait  of 
his,  417. 

Feast  in  the  House  of  Si- 
mon, 65. 


INDEX   OF   PAINTINGS 


473 


Feast  of  the  Passover,  210. 
Fecundity,    103. 
Fenton,    Lavinia,    38. 
Ferdinand,  Don,  444. 
Ferronniere,   La    Belle,  56. 
Ferry,  The,   122. 
Fiddler,    The,    134. 
Fighting    Peasants,   256. 
Fireside,  The,  271. 
Fish,    148,    180. 
Fish  and   Lobster,    139. 
Fisherman   Presenting  Ring 

to  the  Doge,  350. 
Fisher  Boy,  230. 
Fisher     Boy     of     Haarlem, 

121. 

Fishers  and   Cattle,  267. 
Fishers   of   Souls,    163. 
Fish  Market,  155. 
Five   Senses,    137. 
Flemish   Feast,  82. 
Flemish  Landscape,   179. 
Flight     in     Egypt     (H.     de 

Bles),   316;    (Elsheimer), 

267;        (Murillo),       201; 

(Rubens),   278. 
Flight  of  the  Holy  Family, 

274. 

Floating  Feather,  The,  147. 
Flooded  Landscape,  230. 
Flora,  395. 
Flora,      Pomona,      Bacchus 

and  Cupid,  267. 
Flowers  (A.  Van  Beyeren), 

J39;    (J-    Van    Huysum), 

148;    (Seghers),  104,  180; 

(Verelst),  180. 
Flowers  and  Fruits,  174. 
Flute      Player       (Lancret), 

416;    (Leyster),    178. 
Ford,  The,  31. 
Forest   Scene,  32. 
Forge  of  Vulcan,  447. 
Fornarina,  The,  393. 
Fortune-Teller       (Caravag- 

gio),    70;    (Van    Mieris), 

272. 
Fountain   at   Aranjuez,  447. 


Fountain  of  Youth,  212. 
Four  Philosophers,  390. 
Fourment,  Helena,  124,  128- 

9,.  197,  300. 

Fraimont,   Lorenzo,  354. 
Francis    I.,    415. 
Francis  II.  as  a  Child,  114. 
Francisa,   445. 

Francesco  delle  Opere,  414. 
Frederick  the  Great,  234. 
Fruit  and  Game,  148. 
Fruit    (C.   de   Heeni),   263; 

(J.  Van  Huysam),  308. 

Gainsborough's    Forest,    41. 

Galileo,  415. 

Gallant  Offering,  The,  105. 

Gallant   Proposals,  272. 

Game  and.  Poultry  (Sny- 
ders  and  Rubens),  263. 

Game  Dealer  (Metsu),  271. 

Ganymede,   322. 

Garden  of  Venus,  460. 

Gentleman  and  Lady  Drink- 
ing, 229. 

Gibbons,    Grinling,    205. 

Girl  with  an  Apple,  36. 

Gevartius,  Portrait  of,  24. 

Girl   with   the    Broom,    177, 

.193- 

Girl  with  Candle,  332. 
Girl  Caressing  an  Old  Man, 

275- 

Girl  Reading  3  Letter,  271. 
Gisze,    G.,   211. 
Gipsy,    Laughing,    81. 
Giudecca,  View  of  the,  222. 
Glass  of  Lemonade,  200. 
Glass   of    Wine,   263. 
Gloria,  La,  458. 
Godsalve  and  Son,  Thomas, 

2SS. 
Goldsmith,     Portrait    of    a, 

388. 

Grace,  The,  89. 
Grace  Before  Meat   (Mole' 

naer),  156. 
Graces,  The  Three,   178. 


474 


INDEX    OF   PAINTINGS 


Graces  Decorating  a  Statue 

of  Hymen,  39. 
Grapes    and    Pomegranates, 

90. 
GrapHaeus,     Abraham,     no, 

122. 

Green  Cushion,  The,  68. 
Guests  in  a  Tavern,  270. 
Guitar  Lesson,  27. 
Gustavus  III.  and  his  Two 

Brothers,  180. 

Haarlem,  View  of,  124,  136, 

158. 

Hagar,  Expulsion  of,  196. 
Hals  and  his  Wife,  169. 
Halt,  The,   157. 
Harbour,   The,   391. 
Hasselaer,     N.     and    Wife, 

169. 

Hanemans    (Aletta),    130. 
Hay-Harvest,    The.   390. 
Hay-Wain,   136. 
Helm,     William     van     der, 

169. 

Hercules  and  Cacus,  204. 
Herdsman   and   Cattle,    162. 
Hermit,    149,   271. 
Herz,  Dr.,  234. 
High    Life    and    Low    Life, 

43- 

Hilanderas,  Las,  440. 

Hille  Bobbe,  226. 

Holy  Family  (Fra  Barto- 
lommeo),  386;  (Michael 
Angelo),  398;  (Murillo), 
35,  71;  (N.  Poussin), 
204;  (Raphael),  187,  452; 
(Rembrandt),  191;  (Ru- 
bens), 117,  391;  (A.  del 
Sarto),  64,  290;  (Signo- 
relli),  250;  (Suster- 
mans),  389:  (Titian),  10; 
(Palma  Vecchio),  189, 
248;  (L.  da  Vinci),  184. 

Holy  Family  of  Francis  I., 

50 
Holyhocks,  33. 


Holzschuher,    H.,    211. 

Homer,    126. 

Horseman  and  Cows,  30. 

Horses,  24. 

Household  Heath,  42. 

Housekeeper,      The     Good, 

124,   132. 
Hunt,  The,  160. 
Hunt  with  Falcons,  136. 
Hunt,  Return  from  the,  157. 
Hunters   Halt,    136. 
Hunter's  Life,  The,  195. 

Idle  Servant,  28. 
Imhoff,    Hans,   465. 
Immaculate   Conception,  79, 

201,  449. 
Incredulity  of   St.   Thomas, 

117. 

Infant  Hercules,  205. 
Infant    Jesus     Sleeping    on 

the   Cross    (Allori),   413; 

(Murillo),   449. 
Infant  Samuel,  39. 
Infanta    Maria,    222. 
Infanta       Maria       Theresa, 

325.. 
Infanta    Maria    Marguerita, 

73- 

Inn    (A.  Van  Ostade),   133. 
Inn,    Arrival    and    Depart- 
ure from  the,   136. 
Inn   Garden,   230. 
Inn  Stable,  269. 
Innocent  X.,  203. 
Interior     (P.     de     Hooch), 

305;    (Koedyck),  104. 
Interruption,   The,    135. 
Isaac  and  Rebecca,  35. 
Isaac          Blessing        Jacob 

(Flinck),  170;   (Murillo), 

202. 

Isaac,   Sacrifice  of,   192.      r 
Isabel,  Queen,  443. 

Jacob  Blessing  the  Children 

of  Joseph,  280. 
Jacob  Saluting  Rachel,  247. 


Jacob's     Dream     (Murillo), 

202;    (Bol),  267. 
Jardiniere,  La   Belle,  48. 
Jesus  on  the  Cross,  315. 
Jewish   Bride,    193. 
Jewish   Bride,   The,   145. 
Jewish    Cemetery,    268. 
Job,  Troubles  of,  99. 
Joconde,  La,  52. 
John    the    Bapiist    (A.    del 

Sarto),  385;   (L.  da  Vin- 
ci),  57- 
Jolly    Toper,    The     (Hals), 

169;    (Leyster),    169. 
Jordaens  Family,  The,  277. 
Joseph,  385. 
Joseph      Accused     by     the 

Wife  of   Potiphar,  228. 
Joseph    cast    into    the    Pit, 

267. 

Journey  of  Jacob  462. 
Judith  (C.  Allori),  322,  387 

(Botticelli),  404-5;    (Mo- 

retto),    189. 
Julius  II.,  379,  393- 
Jupiter   and   Antiope    (Cor- 

reggio),      63;       (Titian), 

59- 

Jupiter  and  To,  189. 

Jupiter   and  Juno,   338. 

Jupiter,    Infancy    of    (Jor- 
daens), 81. 


Katzenvith,  200. 

Kazan,  Capture  of,  206. 

Kermesse  (Bogoliubof), 
206;  (Teniers  the 
Younger),  105,  279. 

King  Drinks,  The,  81. 

King   Midas,   308. 

Kitchen  (Teniers),  200; 
(Snyders),  39;  (A.  van 
Utrecht),  104. 

Kitchen,  The  Good  (Teni- 
ers), 124,  134. 

Kitchen  Invaded  by  Mon- 
keys, 200. 


475 

Knife-Grinder,  The,  229. 
Kratzer,   Nicholas,  76. 

Lace  Maker,  272. 

Lady   Albemarle,   40. 

Lady,  Portrait  of  a  (Ra- 
phael), 394;  (Van  Dyck), 
278. 

Lady   at   the    Clavecin,    156 

Lady  holding  a  Rosary,  275. 

Lady  in  White  Satin,  306. 

Lady  of  the  Swallow,  13. 

Lady  standing  before  Mir- 
ror, 229. 

Lady  Writing,  134. 

Laitiere,  La  (Greuze),  87; 
(Ver  Meer),  149. 

Laitiere  La  Belle  (Wouver- 
mans),  29. 

Lake  in  the  Middle  of  a 
Forest,  308. 

Landscape  (Hobbema),  179; 
(Koninck),  31,  162;  (C. 
Lorrain),  308;  (Ruys- 
dael),  159,  329;  (Teniers 
the  Younger),  279;  (A. 
van  de  Velde),  159;  (Van 
Uden),  261;  OWouver- 
mans),  157. 

Landscape  in  Winter 
(Rembrandt),  280. 

Landscape  with  Cattle 
(Potter),  129. 

Landscape  with  Cows  and 
Pigs,  128. 

Landscape  with  Figures  (A. 
Carracci),  19. 

Landscape  with  Ruins 
(Wouvermans),  270. 

Lanzas,  Las,  442. 

Last  Judgment  (Floris),  99; 
(Fra  Angelico),  213; 
(Rubens),  297;  (Van 
Orley),  114. 

Last  Supper,  286. 


Laughing   Toper,   276. 

Laura  de  Dianti,  59. 

Lavinia,    189,   220,   244. 

Lawyer,    19. 

Le  Brim  and  Daughter, 
Madame,  85. 

Leda  (Correggio),  218, 

Leda  and  the  Swan  (Bou- 
cher), 173. 

Leo  X.  (Raphael),  373,  377. 

Leo  X.  (Copy),  431. 

Leomdas  at  Thermopylae, 
91. 

Letter,  The,  179. 

Lieffde,  Admiral,  167. 

Lion  and  Gnat,  174. 

Lioness  Between  Two  Lions» 
198. 

Little  St.  Michael,  40. 

Doge  Loredano,  20. 

Lord  Ligonier,  40. 

Lot,  Flight  of,  78. 

Lot  fleeing  from  Sodom, 
196. 

Louis  XV.  as  a  Child,  175. 

Love  in  the  French  Theatre, 

233-. 
Love  in  the  Italian  Theatre, 

233- 

Lucrezia    (Diirer),  294. 
Lucrezia  della  Fede,  462. 
Lucrezia  dei  Pucci,  415. 
Luna  and  the  Hours,  218. 
Lute     Player     (Bol),     178; 

(Carracci),   254;    (Hals), 

178;         (Metsu),        283; 

(Zorg),  155. 

Maas,  Mouth  of  the,  231. 

Madonna  and  Child,  (Bel- 
traffio),  17;  (Correggio), 
412,  434;  (Costa),  15; 
(L.  di  Credi),  3;  (Daddi), 
427;  (Duccio),  i;  (Van 
Dyck),  302;  (J.  Van 
Eyck),  76;  (Garafalo) 
i5;(Ercole  di  G.Grandi), 


15;  (L.  van  Leyden),  210; 
(Mantegna),  15,  413;  (L. 
Martini),  213;  (Moran- 
do),  17;  (Murillo),  273; 
(Perugino),  63,  323,  414, 
431;  (Rubens),  302;  (A. 
del  Sarto),  384;  (Savol- 
do),  361;  (Sodoma),  17; 
(Solario),  66;  (Titian), 
58,  189,  396;  (P.  Vec- 
chio),  248;  (Verroc- 
chio),  214;  (L.  da  Vin- 
ci), 249. 

Madonna  Enthroned 

(Cima),  360;  (Cimabue), 
362;  (Van  Dyck),  275; 
(Ghirlandaio),  406,  407; 
(Giotto),  362;  (Peru- 
gino), 423;  (Tnra),  215; 
(Veronese),  346. 

Madonna  with  Saints  (Boc- 
cacino),  353;  (Botticelli), 
215;  (Crivelli),  216.  357; 
(Domenichino),  359! 

(Guercino),     106;      (Fra 

Filippo  Lippi),  386;  (Ti- 
tian), 424;  (B.  Vivarini), 
352. 

Madonna  adoring  the  Child, 
213- 

Madonna,  Aldobrandini,  7. 

Madonna,  Ansidei,  7. 

Madonna    dell'    Arpie,    409. 

Madonna  of  the  Balda- 
quin, 376. 

Madonna  with  the  Butterfly, 
427. 

Madonna  with  the  Carna- 
tions, 288. 

Madonna  del  Cardellino, 
392. 

Madonna  di  Casa  Alba,  186. 

Madonna  di  Casa  Colonna, 
217. 

Madonna  with  St.  Catherine 
and  St.  Barbara,  319. 

Madonna  with  St.  Catherine 
and  Mary  Magdalen,  340 


INDEX   OF   PAINTINGS 


477 


Madonna  della  Cesta,  17. 
Madonna  of  the  Chair,  286. 
Madonna    of    the    Cherries, 

246. 
Madonna  with  the  Choir  of 

Cherubs,  339. 
Madonna  Conestabile,  186. 
Madonna  del  Coniglio,  434. 
Madonna       Covering       the 

Sleeping    Child,    434. 
Madonna  of  the  Diadem,  49. 
Madonna    with    the    Finch, 

210. 

Madonna  di  Foligno,  420. 
Madonna  di  San  Francesco, 

409. 

Madonna  Gavagh,  7. 
Madonna  della  Gatta,  430. 
Madonna    del    Gran'    Duca, 

373,  375- 
Madonna    of    the    Harpies, 

409. 
Madonna  hushing  the  Infant 

Jesus,  187. 
Madonna    dell'    Impannata, 

375- 
Madonna  with  Infant  Christ 

and  St.  Anne,  16. 
Madonna  by  the  Lake,  399. 
Madonna  del  Latta,  188. 
Madonna  Litta,  184. 
Madonna  of  the  Magnificat, 

402. 
Madonna    della    Melagrana, 

403- 
Madonna    of    the    Meadow, 

17- 

Madonna  of  the  Meier  Fam- 
ily, 235,  254. 

Madonna  di  Monte  Luco, 
422. 

Madonna  of  the  Pomegran- 
nate,  14. 

Madonna  of  the  Rocks,  53. 

Madonna  in  the  Rose-Gar- 
den,  287. 

Madonna  of  the  Rose- 
Hedge,  358. 


Madonna  della  Sedia,  373. 

Madonna  Sistine,  235. 

Madonna  of  the  Tempi 
Palace,  285. 

Madonna  della  Tenda,  286. 

Madonna    Terranuova,   217. 

Madonna  al  Verde,  317. 

Madonna  del  Viaggio,  375. 

Madonna  of  the  Victory,  60. 

Madonna  with  the  Two 
Seraphs,  364. 

Madonna  of  the  Two  Trees, 
340. 

See  Virgin. 

Madonna,  Prayer  of  the, 
203. 

Magdalen, (Guercino),  432; 
(Memling),  77;  (Scha- 
Icken),  281;  (J.  van 
Scorel),  166;  (Titian), 
189,  383- 

Magdalen  in  the  Desert,  239. 

Magdalen  Repentant,  85. 

Magi,  The,  295. 

See     Adoration     of     the 
Magi. 

Maintenon,  Madame  de,  84. 

Maltese  Knight,  459. 

Man,  Portrait  of  a  (Paris 
Bordone),  68;  (Costa), 
388;  (J.  van  Eyck),  21; 
(Mabuse),  22;  (S.  del 
Piombo),  387;  (Rem- 
brandt), 25,  106;  (Titian), 

245- 

Man  in  Black  (Correggio), 
243;  (Holbein),  275;  (Ti- 
tian), 291. 

Man  with  a  Cap  (Holbein), 
255;  (Rembrandt),  304. 

Man  holding  a  Falcon,  131. 

Man  with  a  Glove,  68. 

Man  in  a  Golden  Helmet, 
227. 

Man  with  the  Pinks,  208. 

Man  with  a  Red  Beard,  68. 

Man  with  the  Soft  Hat,  276. 

Man  and  Youth,  247. 


478 


INDEX    OF   PAINTINGS 


Manna,  Gathering  the,  297. 

Mandolin   Player,   120. 

Manoah's  Prayer,  266. 

Margaret  of  Parma,  325. 

Marie  Antoinette  and  her 
Children,  180. 

Marie  Mancini,  234. 

Maries  Returning  from  the 
Tomb,  Four,  114. 

Marine  (W.  van  de  Velde), 
284;  (Vlieger),  329. 

Market  Cart,  41. 

Markets  (Snyders),  200. 

Marriage  a  la  Mode,  37. 

Marriage  at  Cana,  64,  243. 

Marriage  of  St.  Catherine, 
(Fra  Bartolommeo), 

386;  (Correggio),  62,  434; 
(G.  David),  22;  (Lucas 
van  Leyden),  54;  (Mem- 
ling),  77;  (Murillo), 
429;  Andrea  del  Sarto, 
250. 

Marriage  of  the  Virgin  (Fra 
Angelico),  411;  (Raph- 
ael), 355- 

Mars  and  Venus,5. 

Martyrdom  of  St.  Agatha, 
220;  Tiepolo,  387  (?). 

Martyrdom  of  St.  Lawrence 
and  St.  Bartholomew, 
(Ribera),  273,  451. 

Martyrdom  of  St.  Sebastian 
(Durer),  295;  (Pollaiu- 
olo),  3. 

Martyrdom  of  St.  Stephen 
(Carracci),  70. 

Martyrdom  of  the  Ten 
Thousand  Saints,  311. 

Mary  Henrietta  Stuart,  166. 

Mary  Queen  of  Scots,  204. 

Massacre  of  the  Innocents 
(P.  Brueghel),  331;  (Ru- 
bens), 298. 

Mater  Dolorosa,  284. 

Maternal  Care,  153. 

Maternal  Instruction,  29. 

Medici,  Giovanni  de,  404. 


Medusa,  Head  of,  397. 
Medusa,  Raft  of  the,  93. 
Meleager       and       Atalanta, 

102,  328. 

Menagerie,  The,  133. 
Men  and  Women  al  Table, 

Five,  284. 
Meninas,  Las,  438. 
Merchant  and  Clerk,  26. 
Mercury    and    Argus    (Ru- 
bens),  257,   446. 
Mercury  Charming  Argus  to 

Sleep,  307. 
Mercury  and  the  Woodman, 

18. 

Merry   Trio,  226. 
Message   to   the   Shepherds, 

66. 

Meuse,  On  the,  30. 
Mieris   and  his  Wife,  Van, 

135- 

Milkcan,  The,  269. 
Milky  Way,  Origin  of  the, 

12. 

Milanese  Lawyer,  20. 
Mill,  106. 

Miranda,  Juana  de,  222. 
Miracle  of  the  Crucifix,  223. 
Miracle  of  the  Holy  Cross, 

341- 

Miracle  of  San  Diego,  72. 

Miracle  of  St.  Thomas 
Aquinas,  428. 

Miracles  of  St.  Hyacinth, 
427. 

Miracles  of  St.  Ignatius,  337. 

Miraculous  Draught  of 
Fishes  (De  Cracyer), 
103;  (Jouvenet),  83;  (Ru- 
bens), 102. 

Miraculous  Stag  appearing 
to  St.  Fustache,  14. 

Misers,  The,  201. 

Mona  Lisa,  52,  388. 

Moenippus,  446. 

Money-Changer,  227  . 

Monica,  The,  387,  388. 

Monks,  Portraits  of,  369. 


INDEX   OF   PAINTINGS 


479 


Monkeys  (Van  Kessel), 
335;  (Teniers),  303. 

Montefeltro,  F.  di,  414. 

Moonlight  Landscape,  231. 

More,   Sir  Thomas,  76. 

Morning,  308. 

Moses,  Finding  of  (Bona- 
fazio),  360;  (P.  Vero- 
nese), 243,  461. 

Moses  and  the  Hebrews, 
462. 

Moses,  Ordeal  of,  399. 

Moses  Striking  the  Rock, 
204. 

Mountain  Lake,  274. 

Munster,  Peace  of,  147. 

Music  Lesson,  272. 

Music-Master,  27. 

Music   Party,  170. 

Musical    Party,    157. 

Musical    Instruments,    174. 

Musicians,  Two,  155. 

Musidora,  41. 

Musing,  152 

Naiads,  127. 

Napoleon  visiting  the  Battle- 
field of  Eylau,  93. 

Nativity  (Botticelli),  4; 
(L.  di  Credi),  371 ;  (Dtic- 
cio),  213;  (Francia),  66; 
(H.  van  der  Goes),  209; 
(Monaco),  427;  (Roman- 
ino),  17;  (Schongauer), 
213;  (R.  van  der  Wey- 
den),  209. 

Nativity  of  John  the  Baptist 
188. 

Negroes,  Heads  of,  102. 

Neptune  and  Amphitrite 
(Diepenbeck),  261; 

(Poussin),  203;  (Ru- 
bens), 224. 

Nes,  Admiral  Aart  vao 
and  Wife,  166. 

Night  Watch,  The,  140,  144 

Ninos  de  la  Concha,  Los, 
451. 


Ninus  and   Semiramis,  254. 
Noli  me  Tangere    (Correg- 

gio),  461;   (Titian),  10. 
Notte,  La,  240. 
Nurse  and  Laughing  Baby, 

225. 

Oak  Forest,  232. 

Officer  Embracing  a  Young 
Woman,  271. 

Old  Jew,  Rembrandt,  121. 

Old  Man,  Denner,  333 ;  Hol- 
bein, 76;  Rembrandt,  177, 
193,  266  (2). 

Old  Man  Reading,  Ryckaert, 

333- 
Old  Priest,  Head  of,  Rubens, 

258. 

Old  Toper,  154. 
Old   Woman,   Denner,   333; 

Dow,  271 ;  Rembrandt,  24, 

106,  177. 
Old   Woman  Reading,   154; 

Metsu,  179. 
Old  Woman  and  Boy,  Mur- 

illo,  309. 
Olivares,   Conde  Duque  de, 

443- 

Olycan,  Jacob,  130. 

Open  Air  Party,  170;  233. 

Ophovius,   Father  M.,   128. 

Opetal,  Marquise  de  1',  175. 

Orpheus,  462. 

Orgy,  151. 

Orleans,  Duchess  of,  175.  _ 

Orpheus  Charming  Ani- 
mals, 162. 

Otho  III.,  Legend  of,  97. 

Overveen  from  the  Dunes, 
232. 

Oyster  Feast,  124,  133. 

Painter's   Studio,   273. 

Painters  Studying  from  Na- 
ture, 163. 

Pan  as  God  of  Natural  Life, 
219. 


480 


INDEX    OF    PAINTINGS 


Pancakes   (Dow),  417. 
Panciatichi,   B,  415. 
Paradise  (H.  de  Bles),  166; 

(Tintoret),   67. 
Paralytic     Death      of     the, 

(Greuze),  204. 
Parnassus,  59. 
Parnassus,        Muses        and 

Graces    on,   246-247. 
Parolini-Guicciardini,  Johan- 
na, A.  Carracci,  222. 
Parr,    Thomas,    (151    years 

old),   Van   Dyck,  258. 
Parrot  Cage,  149. 
Paternal  Advice,  152. 
Patron    Saints    of    Modena, 

69- 

Peace  of  Miinster,  27. 
Pearl,  The,  452. 
Peasant  Boy,  203. 
Peasant  Boy  Eating  Grapes, 

309. 
Peasant      Boys      Eating     a 

Melon,  309. 
Peasant  Girl,  203. 
Peasant  Girls,  Two,  309. 
Peasants,  283. 
Pensent — ils     aux     raisins  ? 

173- 
Perseus      and      Andromeda 

(Piero  di  Cosimo),  398. 
Perseus     and     Andromeda, 

Rubens,  197,  224. 
Peter    Appian,    293. 
Phaedra  Inghirami,  378. 
Philip  II.    (Titian),  383. 
Philip  IV.,  389,  443- 
Philip    IV.   of    Spain    (Vel- 
asquez), 33. 

Philip   IV.   of  Spain,   180. 
Philip    Bishop    of    Brabant, 

166. 
Picture    Gallery,    Archduke 

Leopold's,  (Teniers),  105. 
Picture      Gallery,      Leopold 

Williams,  310. 
Pied  de  Botte,  74. 
Pieta,     Fra     Bartolommeo, 


386;  G.  Bellini,  355;  Cri- 
velli,  425;  Van  Dyck,  119, 
225 ;  Francia,  16 ;  Luca 
Giordano,  432 ;  Lotto,  358 ; 
Mantegna,  425 ;  Perugino, 
370;  A.  del  Sarto,  319;  R. 
van  der  Weyden,  96. 

Pitt  Guiding   Behemoth,  42. 

Plague  at  Jaffa,  93. 

Platina,  428. 

Poissarde,  La,  155. 

Pourvoyeuse,    La,    90. 

Poussin,    Nicholas,  85. 

Presentation  in  the  Temple 
(Fra  Bartolommeo),  320; 
(Carpaccio),  352;  (Rem- 
brandt), 124,  125;  (Ti- 
tian), 343. 

Priest  and  Nuns,  428. 

Primevera,  401. 

Prince  Philip   (Titian),  457. 

Princess,  The  Little,  167. 

Procris,  Death  of,  5. 

Prodigal  Son,  The,  190; 
(Jordaens),  260;  (Ru- 
ben), 117;  (Rembrandt), 
192. 

Polyphemus,  204. 

Pompeii,  Last  Days  of,  206. 

Pompadour,  Madame  de,  90. 

Pope  Paul  III.  (Titian) 
(2),  432,  433. 

Porica,  Count,  359. 

Portrait  of  a  Child,  170. 

Portrait  of  his  Father 
(Diirer),  295. 

Portrait  of  a  Girl,  138. 

Portrait  of  Himself,  (Dow), 
149;  (Diirer),  294,  465; 
(Rembrandt),  25,  124,  227, 
280;  (Salvator  Rosa), 
391;  (Ter  Borch),  135, 
272;  (Tintoret),  68;  (Ti- 
tian), 221;  (P.  Vecchio), 
290. 

Portrait  of  a  Lady,  122. 

Portrait  of  a  Youth,  222, 

Potter,  Paul,   (130). 


INDEX   OF   PAINTINGS 


481 


Poultry-Dealer, 
283. 


(Metsu), 


Quack          (Dow), 

(Steen),  150. 
Quarry,  137. 
Queen  Artemesia,  465. 


30S5 


Rainbow,   79,    198. 
Raising  of  Lazarus,  17,  418- 
Rape  of  Helen,  2. 
Rape  of  the  Sabines,  18. 
Reading     (J.     Steen),    106; 

(Ver  Meer),   149. 
Reading  Magdalen,  235,  239. 
Recamier,  Madame,  92. 
Regent  Pictures,  140-144. 
Regents,  Four,  142,  171. 
Rembrandt  with  Saskia,  264. 
Rembrandt's  Mother,  193. 
Renier  Anslo,  227. 
Repose  on  Flight  into  Egypt, 

(H.  de  Bles),  112;   (Alt- 

dorfer),  212;    (Bol),  267. 
Repose  of  the  Holy  Family, 

426. 
Repose   in    Egypt    (Correg- 

gio),4i2;  (Cranach),  212; 

(Guido  Reni),  191;  (Mu- 

rillo),     201;     School     of 

Raphael),  323. 
Resurrection        (Memling), 

315;      (Perugino),     288, 

423- 
Resurrection      of      Lazarus 

(Guercino),      69;      (Ru- 
bens), 225. 

See  Raising  of  Lazarus. 
Resurrection  of  the   Saints, 

188. 

Return  from  work,  390. 
Reymond,  Mile.  Mole,  85. 
Rhetoricians,  The,  106. 
Rhine,  View  on  the,  192. 
Richardot  and  Son,  80. 
Riding-School,  200. 
Risen  Christ,  385 


River  God  Tiber,  The,  197. 

Robinette,  39. 

Roi  Boit,  Le,  329. 

Roman  Landscape,  233. 

Romanoff,  Election  of  Mich- 
ael, 206. 

Rough  Sea,  137. 

Rovere,  Francesco  Maria 
della,  394. 

Rubens  and  Helena,  300. 

Rubens,   Salon  of,   178. 

Ruined  Castle  in  a  Lake,  30. 

Ruins  of  Castle  of  Breder- 
ode,  32. 

Sabines,  The,  91. 
Sacrifice  to  Fertility,  178. 
Sacrifice  of  Isaac,  36;    (A. 

del  Sarto),  462. 
Saint  Ambrose  and  the  Em- 
peror Theodosius,  327. 
St.  Anastasius,  176. 
St.  Anne  (L.  da  Vinci),  55. 
St.  Anne,  Legend  of,  98. 
St.      Anthony      of      Padua 

(Murillo),  201. 
St.  Anthony  of  Padua  and 

the  Infant  Jesus,  223. 
St.   AntTiony  and   St.   Paul, 

447. 
St.      Barbara      (John     van 

Eyck),   109,  no;    (A.  del 

Sarto),  188. 
St.  Basil,  73. 
St.  Benedict,  427. 
St.  Bruno,  82. 
St.  Catherine  of  Alexandria, 

St.  Catherine  (Luini),  186, 
287;  (Titian),  57- 

St.  Catherine  in  a  Land- 
scape (Van  Eyck),  314. 

St.  Catherine  carried  away 
by  Angels,  356. 

St.  Cosmo  and  St.  Damian, 
286. 

St.  Elizabeth,  448. 

St.  Euphemia,  432. 


482 


INDEX   OF   PAINTINGS 


St.  Francis  (Guido  Reni), 
191;  (Correggio),  241-242; 
(A.  Caracci),  319. 

St.  Francis  Xavier,  83,  328, 

432- 

St.  George  (Mantegna), 
346;  (Raphael),  47,  187; 
(Tintoret),  12. 

St.  Ildefonso,  326. 

St.   Ignatius   Loyola,   328. 

St.  Jerome  (Leonardo  da 
Vinci).  424;  (Titian), 
358;  (Van  Dyck),  178, 
259,430;  (Patenier),  316; 
(Rubens),  257. 

St.  Jerome  Reading,  14. 

St.  John,   (Dtirer),  294. 

St.  John  the  Baptist  (Bel- 
traffip),  359;  (Lippo 
Lippi),  6;  (Memling). 

77- 
St.    John    and     the     Lamb, 

35- 

St.  Lawrence,  203. 
St.      Margaret      (Raphael) 

51;       (Giulio      Romano). 

323. 

St.  Mark  (Fra  Bartolom- 
meo),  385;  (Diirer). 

294- 
St     Mark     at     Alexandria 

358. 
St.  Mark,  Finding  the  Body 

of,  359- 
St.  Mark  Healing  Ananias 

215- 
St.  Mark  Rescuing  a  Slave 

345- 
St.    Mary    of    Egypt     (Ri- 

bera),  254,  273. 
St.  Matthew,  220. 
St.  Michael  overthrowing 

Satan,    150. 

St.    Nicholas   Eve,    150. 
St.    Norbert,    no,    120. 
St.  Paul    (Durer),  294. 
St.     Paul,     Conversion     of, 

298. 


St.     Peter     (Diirer),     294; 

(Rembrandt),  76. 

St.  Peter  Enthroned,  360. 

St.  Peter's  Denial,  192. 

St.  Peter   Martyr,  360. 

St.  Petronella,  426. 

St.  Rodriguez    the    Martyr, 

235- 
St.     Rodriguez,     Death     of 

273- 

St.   Romualdo,  426. 
St.    Scholastica,    Vision    of, 

82. 
St.    Sebastian    (Correggio), 

241      ;( Mantegna),     319; 

(Ribera),     223;      (Sodo- 

ma),  412;   (L.  da  Vinci), 

185. 

St.  Theresa,  119. 
St.    Ursula,   348. 
St.  Veronica,  292. 
St.  Zanobius,  408. 
Salome     (Luini),    61,    398; 

(Titian),   459. 
Samaritan,  The,  320. 
Samson,    120. 
Samson      Threatening      his 

Wife's  Father,  229. 
Samson's     Marriage    Feast, 

264. 
Sam     Lorenzo     Guistiniani, 

353- 
San    Rocco    of    Cavaggola, 

16. 
Saskia,    177,    193,    227,    264 

265,  281. 

Satin  Dress,  The,   152,  229. 
Satyr   and   Peasant,  276. 
Savonarola,  370. 
Scholar,   Portrait  of  a,   130. 
Scipio,   The   Continence    of, 

205. 

Sculptor,  68. 
Scheveningen,       Beach      at 

(Ruysdael),    137;    (S.    de 

Vliearer1),    137;     (A.    Van 

de  Velde),  138. 
Scholar  and  his  Sister,  275. 


INDEX   OF   PAINTINGS 


483 


School  of  Love,   18. 
Schoolmaster,    The,   271. 
Scullion,  The,   150. 
Sea    Port,   308. 
Sea  Port  at  Sunset,  84. 
Seamstresses,    The,    191. 
Sebastian  de  Morra,  446. 
Sennacherib,    The    Destruc- 
tion of,  298. 
Senses,  Five,  105. 
Servant          (Rembrandt's), 

177- 
Seven  Joys   of  the   Virgin, 

297. 

Seven  Sacraments,  109,  no. 
Seymour,  Jane,  131. 
Sforza,    Battista,    414. 
Sheffield,   Sir — 130. 
Shells,   139. 
Shepherd    and    Flock,    162, 

268,  282. 
Shepherd       Lovers,       The, 

305. 

Sibyl,  The,  445. 
Sicily,    Scene    in    Coast    of, 

274- 

Sick  Girl,  151. 
Siddons,   Mrs.,  40. 
Sigismonda,  38. 
Silk  Mercer,  334. 
Simeon  in  the  Temple,  124 

125. 

Simons,  Q.,  130. 
Sisters.  Three,  248. 
Sistine   Madonna,   235. 
Skater    (Lancret),   174. 
Smithy,  269. 
Smoker        (Metsu),       271; 

(Ter    Borch),    229 
Snake   in  the    Grass.     The, 

206.    • 
Snyders,      Portrait     of     F., 

302. 

Snyders  and  Family,   199. 
Soap  Bubbles,  135. 
Sobieski,    194. 
Soldiers  Offering  Gold  to  a 

Girl,  82. 


Soldier  Receiving  a  Young 

Lady,  82. 

Soldier  Smoking,  273. 
Solomon,  Judgment  of,  399, 

400. 

Soup  Eater,  The,  277. 
South  Sea  Bubble,  44. 
Southwell,  Sir  Richard,  76, 

416. 
Soldiers     Playing    at    Dice, 

190. 
Spaniels   of   King   Charles's 

Breed,  43. 

Spanish    Peasant    Boy,   35. 
Spasimo,  456. 
Spinner    (Maes),    152. 
Sportsman    with    a    Bittern 

(Rembrandt),    265. 
Sportsman's     Present,     The 

(Metsu),    153. 
Sposalizio,  355. 
Spring      (Botticelli),     362; 

(Brueghel),  332. 
Spring  Landscape,  230. 
Stable        (Morland),       42; 

(Wouvermans),    29. 
Stag-Hunt     (Oudry),     174; 

(A.      von      Everdingen), 

267;       (Snyders),       139; 

(Wouvermans),  269,  306. 
Steen  Family,  The,   133. 
Steward    and    his    Mistress, 

A.,  304. 
Still     Life     (Oudry),     174; 

(Snyders),  104,  225. 
Stoffels     (Hendrickje),    26, 

81,  227. 

Store    Room,    154. 
Stormy   Sea,  232. 
Strada,   Portrait  of,  322. 
Summer  Morning,  231. 
Sunrise   on  the   Black   Sea, 

206. 

Sunset,   284. 
Supper    in     the     House    of 

Levi,  347- 
Surrender    of    Breda,    The, 

442. 


484 


INDEX    OF    PAINTINGS 


Susanna   (Rembrandt),  126, 

228. 
Susannah      at      the      Bath 

(Tintoret),    67. 
Syndics,    The,    140,    143. 

Tailor,    19. 

Tailor's  Shop,  156. 

Tavern   Scenes,  261. 

Temptation  of  St.  Anthony 
(Bosch),  316:  (Teniers), 
279. 

Terrestrial  Paradise,  333. 

Three  Ages  of  Man,  381. 

Three    Archers,   251. 

Three  Fates,  387. 

Thomyris  and  Cyrus,  78. 

Tinker,  The,  272. 

Titania  and  Bottom,  43. 

Toast,  The   (Steen),  151. 

Tobias  and  the  Angel,  353. 

Tobias  and   Raphael,  8-9. 

Topers,  The,  441. 

Transfiguration,  The,  17, 
418. 

Treasure  Seeker,  333. 

Tribute   Money,  246. 

Trinity,  The,  370. 

Triumph    of    Scipio,    15. 

Triumph  of  the  Christian 
Religion,  275. 

Triumph  of  Galatea,  173. 

Triumph  of  Venus  on  the 
Sea,  324 

Trumpeter,  272. 

Trumpeter  and  Lady  in 
White  Satin,  306. 

True  Cross  (Gentile  Bel- 
lini), 341. 

Turkey  arid  Cock,  Fight  be- 
tween, 147. 

Twelfth  Night  (Jordaens), 
302;  (Steen),  283. 

Two   Cavaliers,  267. 

Two    Men,    68. 

Two  Musicians,  276. 

Ugo  Martelli,  222. 


Usurers,  Two,  22. 

Uncle   Toby,   44. 

Ulysses      Returning      Chry- 

seis  to  her  Father,  84. 
Ulysses  and   Nausicaa,  390. 

Vache  qui  se  Mire,  La,  124, 
127. 

Vache  qui  Pisse,  La,  195. 

Vase   of   Flowers,   33. 

Venere  del  Pardo,  59. 

Venetian    Senator,  20. 

Venice,    19. 

Venus  (Botticelli),  362, 
400;  (Giorgione),  247; 
(Palma  Vecchio),  247. 

Venus  and  Adonis  (Ru- 
bens; 128;  (Titian), 
458;  (Veronese),  461. 

Venus  and  Cupid,  262. 

Venus  and  the  Graces,  173. 

Venus  and  Young  Bac- 
chante, 291. 

Venus  at  her  Toilet,  173. 

Venus   au   Petit  Chien,  385. 

Venus,  Vulcan  and  Cupid, 
386. 

Vertummus  and  Pomona, 
218. 

Vicq,   Baron   Henri   de,   79. 

Vierge  au  Panier.  See 
Virgin  with  the  Basket. 

Vierge   aux   Perdrix,   199. 

Vierge  aux  Rochers,  9,  53. 

Village,   8r. 

Village   Doctor,    105. 

Village    Scene    in    Holland, 

3i. 

Village  Wedding,  120. 
Violante,    317 
Virgin  and  Child   (Fra  An- 

gelico),     410-411;      (Bal- 

dassare     of     Este),     214; 

(Cima),     17;      (Crivelli), 

357;     (Van     Dyck),    79; 

(J.      Van      Eyck),     256; 

(R.      del     Garbo).     214; 

(Giorgione),   460;    (Goz- 


INDEX    OF    PAINTINGS 


485 


zoli),  317;  (F.  Lippi), 
410;  (Mantegna),  252; 
(Memling),  21,  112,  209; 
(Montegnia),  360;  (Pera- 
gino),  7-8;  (Ramenghi), 
253;  (P.  Vecchio),  318. 

Virgin  and  Child  with 
Saints  (Bellini),  339, 
340;  (Cima),  290; 
(Francia),  187;  (Peru- 
gino),  288;  (Titian), 
246;  (P.  Vecchio),  290. 

Virgin  and  Child  with 
Saints  mourning,  302- 

303- 

Virgin  and  Child  En- 
throned with  Six  Saints 

(Francia),  215. 
Virgin    Enthroned    (Cima), 

215;       (Memling),      315; 

(Van       Thulden),      261; 

(A.  Vivarim),  214. 
Virgin    Enthroned    and    St. 

Anne,  16. 
Virgin   Enthroned   with   St. 

Anna,   409 
Virgin    in    Glory     (Correg- 

gio),  242;    (Ghirlandaio), 

289;        (Massys),        131; 

(Veronese),  319. 
Virgin  and  St.  Elizabeth  in 

Glory,  218 
Virgin    Adoring   the   Infant 

Christ    2-3;     (Perugino), 

8. 
Virgin     Appearing     to     St. 

Bernard,  370 
Virgin     Appearing     to     St. 

Luke    and    St.    Catherine, 

70. 

Virgin  of  the  Basket,  17. 
Virgin     of     the     Cherries, 

320. 
Virgin    of    the    Cornflower, 

416. 
Virgin      of     the     Crescent, 

246. 
Virgin   of  the   Fish,   453. 


Virgin  of  the  Parapet,  321. 
Virgin    of    the    Partridges, 

190. 

Virgin  of  the  Rabbit  57. 
Virgin  of  the  Rocks,  9.  See 

Vierge  aux  Rochers. 
Virgin  of  the  Rose,  251. 
Virgin  with  the  Cherries 

(A.    Carracci),    70. 
Virgin  with   the  Cut   Pear, 

3io 
Virgin     with     the     Grapes, 

84. 
Virgin     with     the     Parrot, 

The,  117. 

Virgin  with  the  Roses,  396. 
Vision  of  Ezekiel,  377. 
Vision  of  a   Knight,  6-7. 
Vision    of     St.     Augustine, 

16. 
Vision      of      St,      Bernard, 

289. 

Vision   of   St.   Helena,    n. 
Vision    of    St.    Scholastica, 

82. 
Visit  of  an  Old  Lady  to  a 

Physician,  229. 
Visitation         (Albertinelli), 

409;     (Ghirlandaio),    67; 

(S.     del     Piombo),     67; 

(Palma     Vecchio),     318; 

(Raphael),  456. 
Voiturier,  Le,   199. 
Voogt,  Maria,   168. 
Vyver,    View    ot,    137. 
Vyts,  Jodocus,  256. 


Wake,  Anna,  130. 
Wareham,  William,  76. 
Watch  Dog,  195. 
Waterfall     (A.    von    Ever- 

dingen),  267;    (Poussin), 

274. 

Water  Mill,  32,   161. 
Weaver  at  Rest,  106 
Weavers,    The,   440. 
Wedding  at  Cana,  243. 


486 


INDEX    OF   PAINTINGS 


Weeping  Woman,  Head  of, 

96. 

Welsh    Slate   Quarries,   42. 
Wild   Boar   Hunt,  34. 
William     of     Orange     and 

Mary  Stuart,   168. 
Winter,   231. 

Winter    Amusements,    159. 
Winter  Effect,  159. 
Winter    Landscape,   30. 
Windmill  at  Wyk,   157. 
Witches,  336. 
Wohlgemuth,     Portrait    of, 

294. 

Woman   Drinking,   270. 
Woman  by  a  Cradle,  179. 
Woman  Taken  in  Adultery, 

25. 

Woman  with  a  Cat,  154. 
Woman    with    Gold    Chain, 

258. 
Woman     at     the     Window, 

227. 

Woman  Wading,  26. 
Women    with    Musical    In- 
struments,  Six,  247. 
Woodcutters    Family,    279. 


Woodland,   158. 
Woody   Landscape,   232. 

Y  at  Amsterdam,   165. 
Young       Girl       Decorating 

Statue  of  Love,  92. 
Young     Man      (Giorgione), 

221;        (Holbein),       313; 

(Raphael),    51;     (A.    del 

Sarto),       19;       (Titian), 

382. 

Young    Scholar,   283. 
Young  Singer,  225,  227. 
Young    Woman    (Holbein), 

131;      (S.    del     Piombo), 

222;    (L.   da  Vinci),    185. 
Young  Woman  at  Toilette, 

3i6. 
Youth,    Portrait    of,    (Van 

Eyck),  256. 

Youth    of    the   Virgin,    191. 
Youthful  Christ,  19. 

Zingarella,  435. 
Ziska,   Conspiracy  of  John, 
175- 


INDEX    OF   PAINTERS 


Aertsen,  P.,  335. 

Albani,  324. 

Albertinelli,    370,    409. 

Allori,  C,  322,  387,  413. 

Altdorfer,  212. 

Angelico,    Fra,    2,    60,    213, 

286,  368,  410,  463. 
Fra    Angelico,    School    of, 

429. 
Antonello  da  Messina,   122, 

249,.  354- 

Arthois,   Jacques    d',    179. 
Ast,  B.  van  der,  139. 
Ayvasowsky,  206. 

Bagnacavallo,   253. 
Bakhuysen,  L.,   165. 
Baldassare  of  Este,  214. 
Baroccio,   426. 
Bartolo,  Taddeo  di,  427. 
Bartolommeo,  Fra,  320,  370, 

385,  409. 

Basaiti,  Marco,   14,   17,  353. 
Bassano,   324,   461. 
Beeldemaker,   A.   C,    157. 
Bega,  268. 

Begeyn    Abraham,   137. 
Bellini,     Gentile,     68,     341, 

35.8. 
Bellini,  Giovanni,  13,  17,  20, 

3i6,   339,   355,   399- 
Beltraffio,  17,  359. 
Berchem,  267. 
Beyeren,   A.   van,    139,    148, 

180. 

Blake,  William,  42. 
Bles,  Herri  de,  99,  112,  166, 

316. 

Boccaccino,    B.,   353. 
Bogoliubof,   206. 
Bol,  F.,  131,  140,  178. 


Bologna,  John  of,  69. 
Bonafazio,  353,  360. 
Bonsi,  Giovanni,  427. 
Bonvicino,    A.,   218. 
Bordone,   Paris,  68,  350. 
Bosch,  Jerome,  316. 
Both,  J.  163,  307. 
Botticelli,  4,  215,  362,  400. 
Boucher  86,    172,    173. 
Bouts,  Albert,  99,  112. 
Bouts,  Thierry,  97,  112,  296. 
Burgkmaier,  334. 
Brekelenkam,    155,    156. 
Bronzino,  68,  251,  415. 
Brouwer,  A.,   156,  268,  305. 
Brueghel,  Hell   Fire,    100. 
Brueghel,    Jan    the     Elder, 

276. 
Brueghel,  Jan  the  Younger, 

IOO. 

Brueghel,   Peasant,  81,   256, 

331. 

Brueghel,   Pieter,    100. 
Brueghel  Velvet,  200,  303. 
Briilow,  206. 
Bruni,  206. 
Buonaroti.        See      Michael 

Angelo. 

Calcar,  John  of,  68. 
Canaletto,  19. 

Capelle,  J.  van  de,  180,  231. 
Caravaggio,   68,   220,  254. 
Carpaccio,    214,    347,    351. 
Carracci,      Agostino.      222, 

319. 
Carracci,    Annibale,    19,    69, 

254- 

Champaigne,  P.  de,  80. 
Chardin,  86,  89,  172  175. 
Chodowiecki,  234. 


487 


488 


INDEX    OF    PAINTERS 


Christus,    Petrus,  99. 

Cima    da    Conegliano,    215, 

290,  352,  360. 
Cimabue,  362. 
Claesz,  P.,  148. 
Clouet,  74,  114,  415. 
Codde,    170. 
Constable,  41. 
Coques,    G.,    23,    121,    261, 

275,  283. 
Correggio,    17   62,    187,   218, 

235,    239,    240,    241,    242, 

243,   322,   412,   434,   461. 
Cosimo,  Piero  di,  5,  398. 
Cossa,    F.,   220,   253,   427. 
Costa,   15,  388. 
Coxie,  Michael,  99. 
Craeyer,   G.   de,    103,   180. 
Cranach,  212 
Crivelli,    12,    107,    216.    356, 

425. 
Credi,    Lorenzo    di,    3,    249. 

371- 

"  Crome,  Old,"  41. 
Cuyp,  A.,  30,  147,  230. 


Daddi,    B.,   427. 
David,  Gerard,  22. 
Denner,   B.,   332. 
Desportes,  86,   174. 
Diepenbeck,    262,    335. 
Domenichino,    359,   414. 
Dosso    Dossi,   248. 
Dow,    Gerard,    32,    82,    124, 
132,     148,    200,    270,    305, 

417- 

Drost,  281. 
Duccio    of    Buoninsegna,    I, 

213. 
Dughet,  G.,  233.    See  Pous- 

sin,    G. 
Diirer,    210,    256,    294,    310, 

416,  465. 
Dyck,    A.    van,    24,    79,    80, 

109,     119,     178,     199,    225, 

258,    275,    278,    302,    361, 

389,  464- 


Eeckhout,  G.  van  den,   139, 

179- 

Elsheimer,   Adam,   267. 
Etty,  44- 
Everdingen,      Allart       von, 

307- 

Everdingen,   C.    von,   267. 
Eyck,  Hubert  Van,  208. 
Eyck,  J.  and  H.,  95,  207. 
Eyck,    John    Van,    21,    76, 

1 08,    no,    200,    208,    256, 

314,  430. 

Fabritius,   169. 

Flinck,   G.,    140,   147,   170. 

Floris,    Frans,   99,    113. 

Fouquet,  210. 

Fragonard,    86,   89,   204. 

Francia,    16,    66,    187,    215, 

251,  287. 

Franck,  J.  B.,  167. 
Fabriano,    Gentile    da,    367, 

427. 
Francken,  Frans  the  Elder, 

336. 
Francken,          Frans          the 

Younger,   336. 
Fredi,    Bartolo   di,  427. 
Fuseli,    43. 
Fyt,  Jan,  179,  334. 

Gainsborough,  40. 
Garbo,    R.   del,   214. 
Garofalo,  15,  189,  253. 
Gelder,   Arent  van,  267. 
Gentile,  F.   di,  427. 
Gerard,  91. 
Gericault,  93. 
Ghirlandaio,     D.,     67,     289, 

366,  406. 
Ghirlandaio,    R.,    388,    397, 

408.    . 

Giordano,  Luca,  318,  432. 
Giorgione,   26,   66,   221,   247, 

3i8,  373,   38o,  399,  460. 
Goes,   H.   van   der,  96,  315. 
Giotto,  286,  362. 
Goya,  452. 


INDEX    OF   PAINTERS 


489 


Goyen,  Jan  van,  137,  179. 
Gozzoli,     Benozzo,    2,    317, 

428. 

Grandi,  Ercole  di  G.,  15. 
Greuze,  36,  86,  87,  204. 
Gros,  93. 
Guardi,  222. 

Guercino,  69,   108,  426,  432. 
Guerin,  92. 
Guido,    Reni,    19,    69,    190, 

254,  292. 

Hackaert,    Jan,    160,    166. 

Hals,  D.,   170. 

Hals,    Frans,    81,    107,    121, 

130,    168,    199,    178,    225, 

275,  276,  303- 
Heem,  Cornelis  de,  263. 
Heem,  J.  D.  de,  263. 
Heemskerk,    M.    van,     100, 

333- 

Heins,  J.,  336. 
Heist     B.  van  der,  26,  146, 

1 66,   200. 
Herrera,    73. 
Hobbema,  32,  108,  161,  179, 

232,  307. 
Hogarth,  37. 
Holbein,    36,    75,     76,     107, 

I3L    235,    254,    255,    275, 

416. 

Hondecoeter,   147,  224. 
Hooch,    Pieter   de,   28,    154, 

179,  229,  305. 
Huysum,  J.  van,  148,  308. 

Jardin,  K.  du,  270. 
Jones,  Thomas,  204. 
Jordaens,    80,  103,  109,  119, 

179,  260,  277,  302,  329. 
Jouvenet,    83. 

Kessel,    J.    van,   335. 
Key,   Adriaen,   131. 
Keyser,  T.  de,  26,  124,  129, 

168,  170,  267,  304. 
Kneller,  Sir  G.,  205. 
Koedyck,  104,  ISS- 


Koninck,    P.    de.,    31,    162, 

231. 

Koninck,   S.,    139. 
Kulmbach,  213. 

Lancret,   86,    174,   274,   416. 

Landseer,    42. 

La  Tour,  90. 

Lawrence,  429. 

Le  Brun,  84. 

Le    Brun,    Madame,  85. 

Lens,  A.  C,  338. 

Leonardo.          See        Vinci, 

Leonardo  da. 
Le   Sueur,  82. 
Leslie,  44. 

Leyster,  Judith,    169,   178. 
Lijs,  J.,    170. 
Libri,  Girolamo  dai,   16. 
Lippi,    Filippo,   6,   213,   365, 

386,  410. 

Lippi,  Filippino,  214,  408. 
Lippi,  Lorenzo,  320. 
"Little  Vandyck,"  The,  23. 
Lorrain,  Claude,  35,  83,  108, 

204,   274,   308. 
Luini,  9,  61,  287,  356,  358, 

398- 

Lossenko,  206. 
Lotto,     Lorenzo,     20,     222, 

324,  358,  38r. 
Lucas  van  Leyden,  210,  354. 

Maes,  N.,  27,   152.    . 
Maitre   de   Flemalle,   210. 
Mantegna,   15,  59,  252,  319, 

346,    357,    413,    426,    432, 

463- 

Mantovano,    Rinaldo,    18. 
Martini,  Lippo,  213. 
Massys,  Jan,  201. 
Massys     Quentin,    98,     109, 

114,  131,  200,  210,  275. 
Mabuse,  22,  114,  166,  275 
Maclise,  43. 
Martini,    Simone,    122. 
Marconi,    Rocco,    213,    352, 

427. 


490 


INDEX    OF    PAINTERS 


Mazzuoli,    F.,   251. 

Melzi,  F.,  218. 

Memling,    21,    77,    99,    109, 

112,  131,  297,  314. 
Memmi,  Lippo,  427. 
Messina,  Antonello  da. 

See   Antonello. 
Metsu,  G.,  27,  82,   134,   153, 

283,  334,  417. 

Michael  Angelo,  387,  398. 
Mieris,  F.  van,  135,  271, 

272,   304,    334. 
Mignard,   84,    234. 
Molenaer,  J.  M.,  137,  156. 
Monaco,  L.,  427. 
Morando,    Paolo,    16,    17. 
Moretto    da     Brescia,     189, 

218,  325,  431. 
Moreelse,    P.,    167. 
Moretto,  431. 
Moreland,    George,    42. 
Moro,  A.,  131,  325. 
Moroni,  19. 
Montagna,      B.,     218,     360, 

426. 
Murillo,    35,    70,    201,    223, 

235,    273,    309,    429,    437, 

448. 

Nattier,  86,   175 

Neer,    Aert    van    der,    231, 

270. 

Neer,  Eglon  Van  der,  306. 
Netscher,  29,  153,  272,  305. 
Nugi,  Allegretto,  427. 

Oost,   Van,   337. 
Opstal,  Jacques  van,   113. 
Orley,  B.  Van,  99,  100,  114. 
Ostade,    A.    Van,    31,    106, 

133,  179,  270,  283. 
Ostade,  I.  van,  31. 
Oudry,   86,    174. 

Palma  Vecchio,   u,  66,  247, 

290. 

Palamedes,    157. 
Parmegianino,   251,  431. 


Parmigiano,    189. 

Patenier,  99,  114,  316. 

Pater,  86,  274. 

Penni,  323. 

Perugino,    8,    63,    288,    323, 

368,  385,  414,  423,  431. 
Pesne,  234. 

Piero   della   Francesca,  414. 
Piombo,  S.  del,   17,  67,   189, 

222,   387,  393,  418,  434. 
Pisanello,    14. 
Pisano,   V.,  216. 
Pollaiuolo,    A.,    3,    219. 
Pollaiuolo,   Piero,  220. 
Ponte,  Jacopo  da,  66. 
Pordenone,    353. 
Potter,    Paul,    29,    124,    127, 

162,    194,  230,  268,  282. 
Poussin,   G.,  36,  274. 
Poussin,     N.,    35,    83,    203, 

232,  308. 

Pourbus,  Frans,  336. 
Prud'hon,   92. 

Quellin,   Erasmus,    104. 

Ramenghi,  B.,  253. 
Raphael,  6,  47,   186,  217. 

235,    285,    317,    323,    355, 

373,  392,  418,  430,  452. 
Rembrandt,  24,  81,  107,  121, 

124,    162,    168,    172,     175, 

191,    227,    264,    275,    279, 

304,  361,  389,  465. 
Reynolds,   Sir  J.,  38,  205. 
Ribalta,  451. 
Ribera,    74,    223,    254,    273, 

284. 

Rigaud,  85,   175. 
Roberti,   Ercole,  252,  359. 
Rogman,  R.,  281. 
Romanino,    17- 
Romano,     Guilio,     19,     253, 

323,  456. 

Romerswael,  M.  van,  22. 
Rosa,  Salvator,  18,  190,  391. 
Roslin,    Alexander,    92. 
Rubens,  23,  78,  79,  100,  102, 


INDEX    OF    PAINTERS 


491 


109,  115,  124,  127,  178, 
196,  223,  257,  258,  263, 
278,  297,  310,  326,  390, 

437.   464- 
Ruysdael,     Jacob     van,     82, 

124,    136,    158,    232,    268, 

284,  307,  329- 
Ruysdael,      Salomon,      108, 

122. 

Ryckaert,    David,    261,    333. 

Sacchi  Andrea,  426. 
Santvoort,  140,  170. 
Sarto,  Andrea  del,  19,  64 

188,    214,    250,    290,    319, 

383,  409,  431,  461. 
Sassetta,  428. 
Savoldo,    361. 
Schaffner,  Martin,  293. 
Schalcken,  G.,  230,  281,  332 
Schiavone,    189. 
Schongauer,  213. 
Schut,    Cornells,    101. 
Scorel,   Jan   van,    166. 
Seghers,  D.,   104,   180. 
Signorelli,   4,   219,   250. 
Snyders,    R,    104,    139,    148, 

200,  263,  225,  301,  333. 
Snellinck,   Jan,    113. 
Sodoma,  17,  412. 
Solario,  20,  66. 
Steen,  Jan,  27,  82,  105,  120, 

12  J,    133,    149,    230,    283, 

417. 

Stothard,  44. 

Sustermans    (?\    389,    415 
Swedish    painters,    180-182. 

Teniers,  David  the  Elder, 
330. 

Teniers,  David  the  Young- 
er, 105,  124,  134,  156,  179, 
200,  261,  275,  279,  303, 
330- 

Ter  Borch,  27,  82,  120,  124, 
135,  152,  170,  200,  229, 
272,  283,  306,  417. 

Terburg.      See   Ter    Borch. 


Thulden,  Van,    103,  261. 

Tiepolo,   190,  220. 

Tintoret,  12,  67,  188,  218, 

246,  292,  324,  345,  359, 
386. 

Titian,  9,  57,  68,  122,  189, 

220,  245,  246,  247,  284, 

291,  320,  343,  358,  373, 

381,  394,  424,  432,  437, 

457- 
Tura,  Cosimo.  215. 

Ubertino,  Francesco,  251. 
Uccello,    Paolo,i. 
Uden,   Van,   261,   390. 
Ugriumoff,  206. 
Utrecht,   A.   van,    104. 

Valentin,  69. 

Van  Loo,   175. 

Vecchio,     Palma,     66,     189, 

317. 
Velde,    A.    van    de,    30,    31, 

138,    159,    160,    162,    231, 

268. 

Velde,  Esaias  Van  de,   159. 
Velde,  W.  van  de,  30,   164, 

284. 
Velasquez,  33,  73,   180,  203, 

222,  273,  289,  325,  437. 
Veneziano,    B.,    317. 
Venne,  Van   der,    163. 
Verelst,    Simon,    180. 
Vermeer,   J.,    124,    138,    149, 

229,  261. 
Veronese,  Paul,  II,  64,  189, 

243,  31.9,  361,  388,  461. 
Verrocchio,    A.,   214,   371. 
Verrocchio,   School   of,   3. 
Verspronck,   J.    C,    170. 
Victor,  J.,  233. 
Vinci,   Leonardo   da,   9,    52, 

184,    218,    249,    288,    397, 

424. 

Vivarini,  A.,  214,  217. 
Vivarini,    B.,    352. 
Vlieger,  S.  de,  137,  329. 
Vliet,  H.  van,i8o. 


492 


INDEX    OF   PAINTERS 


Vos,    C.    de,    no,    120,    122, 

i?8,   179- 

Vos,   Paul  de,   179. 
Vranck,    Sebastian,    337. 

Ward,  44. 

Watteau,   86,   88,    233,   274. 

Weenix,   147. 

Wertmiiller,   180. 

Weyden,     Roger     van     der, 


96,  109,  no,  131,  209,  295, 

354- 

Wilkie,  Sir  David,  43. 
Willeborts,   T.,   334. 
Wohlgemuth,    M.,    293. 

Zeeuw,  De,  22. 
Zeghers,   G.,  329. 
Zorg,  H.  M.,  155. 
Zurbaran,    203,    222,    452. 


17688 

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JULlo 

70 

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KtUU  JU 

J 

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^16  197k 

RECO  JUN 

12   Ib/d 

BPU  JA 

N  2  8  198E 

GAYLORD 

PRINTED  IN  U.S.A. 

JBRARYFACIUTJ 


1111  III  11  Hill  i« 

000599679     8 


